We live in a world of curiosities. Some are meant to be understood, some are not and others are simple meant to be enjoyed. And to hear Blues Control is to enjoy it.

Made up of Russ Waterhouse and Lea Cho, the two traffic in any number of genre specific names but manage to recreate these ethereal sounds just between the two of them. I suppose, in this time of electronic trickery that might be less than a startling revelation. Even forgetting that fact, the ambience the two are able to conjure is a testament to not only their talents, but also to what must be a pretty extensive (and perhaps geeky) record collection.

The band has, in the past few years, released work with Holy Mountain – out of Portalnd – as well as Woodsist. While both outlets have a pretty general aesthetic, Blues Control doesn’t really fit either. At once the band is able to recall any number of German rock bands, but than also Ralph and Florian era Kraftwerk, which notably enough, was just a pair of guys working out some musical magic.

There aren’t any distinct ties to specific time, styles, etc, but Blues Control does have a rather consistent sound. Of course that sound is buried under layers of fuzz that can come only from rather primitive recording techniques. But that’s the point: raw and primitive. It might be a stretch to say that this music isn’t well thought out, but it certainly isn’t precisely annotated.

Stumbling upon Riverboat Styx on Decrepit Tapes prompted a quick download and an extensive listen. What can be found are two rather extended forays into rock related territories.

The title track, leading off this offering, is the more slight of the two. Of course, even with that being understood, “Riverboat Styx” begins with some thudding drums, distant bird noises and enough supplemental percussion and assorted noise to sate even the most voracious feedback monger. With a brief respite coming about six minutes into the fourteen minute track, the Blues Control maintains its caveman propulsion, but than substitutes a bit more melody for the ambient hisses, blurps and gurgles of early on. It’s hard to figure when there’s a ‘solo,’ but of course that word’s only meant in a broad sense seeing as this offering seems to be a joint feature. There are moments when one instrument (or sound) is pushed back a bit. But that could just be studio trickery. Who knows? Let’s just assume it’s all magic.

The second side of the release which is made up of “Rolling Fog Blues” moves closer to that aforementioned Kraftwerk territory while still maintaining a pretty overt rock sound. The pulsations continue in faux traditional style. And while nothing here is really all too surprising, it would undoubtedly be interesting to witness this in a live setting. And considering that the duo recently opened up for Animal Collective in NYC, you might find Blues Control in you neighborhood sooner or later accompanied by another band who’s name you might be more familiar with.