Eleanore Everdell and Jason Friedman are a new-wave duo from Brooklyn (where else?). They’ve been riding on some buzz and a couple of great EP’s, and their self-titled girl/boy synth-pop album is released by Warp Records. It’s not a typical release by the former challenging and uniquely beautiful electronica label, but so wasn’t Grizzly Bear. The Hundred in the Hands LP is full of complex and personal pop songs rooted in the music of NYC’s storied underground. The 11 tracks on the album is a combination of DIY home-recording and studio sessions in London and New York with contributions by producer friends including Jacques Renault, Richard X, Eric Broucek and Chris Zane.

Opener “Young Aren’t Young” builds from Giorgio Moroder beats into danceable, spacious and floating pop with hi-hats and the final touch of Eleanore’s beautiful voice. “Lovesick (Once Again)” starts with early 90’s Fugazi riffs and evolves into a subtle Cure beat with a catchy chorus and a dreamy middle section. “Pigeons,” one of their singles, is a moody 80’s pop song about teenage angst. It’s performed with a full-on British accent and sounds a lot like “Colourless Colour” by La Roux. “Commotion” should be their next single, it’s has huge potential with a U2 stadium anthem sound to it, with Blondie synthesizers. “This Day Is Made” is dubbed out chamber pop with blissful vocal harmonies, while “Dead Ending” has a slow Dire Straits disco edge full of reverb. “Dressed In Dresden” is their early hit and one of the strongest songs on their album. It’s energetic and simplistic disco-punk with classic rock stomping drums and guitar riffs. Album closer “The Beach” has the beautiful dreamy pop qualities of a Feist song, and Eleanore sings like an angelic choirboy.

It’s the perfect ending of an album that has an unpretentious pop sensibility and credibility that will reach far outside hipster circles. Their precise work is only weakened by 2 anemic post-punk tracks, but 9 out of 11 ain’t bad. You should expect to hear a  lot more from the duo in the instant future

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