Enon

There is a precept among music fans that rarities compilations, like covers albums, are the domain of catchpenny, blocked writers. Given that their last album, Hocus Pocus, is barely a year old, Enon seem to be an exception to this. And their songs, inexorably lurching in and out of genres, seem to be exceptions to most musical precepts. "Kanon” recalls some of the finer moments of trip-hop, while "Knock that Door” hints at what ’80s-era New Edition might have sounded like if Bobby Brown had been a Japanese woman. There is the expected incondite studio-sawdust that fills most b-side collections, but the band’s greatest asset has always been its melding, placement and variety of sounds; if nothing else, Lost Marbles documents this trial and error with sampler, synthesiser and anything else that makes noise.