I'm not familiar with initial incarnations of the music remixed on Antimatter vs Antimatter, the debut Asphodel album by sound artist Xopher Davidson, a.k.a. Antimatter. But does it, well, matter? These spectral, haunting electronic soundscapes, based on the art-school superachiever's past work, are fully capable of standing on their own.

Davidson – who also goes by the handle mixture 151 when he fiddles the faders for Mixmaster Mike, Tipsy, and Christian Marclay – and his PowerBook have already had their way with Iannis Xenakis, Zbigniew Karkowski, and the Soft Pink Truth, among others. When he takes to reediting his own pieces, the beats are erratic, few and far between – from the battered pulse of a heart that segues into a skittish snare on "Rangefinder" to the ghostly snippets of gypsy tambourines colliding with the chug of helicopter blades and the blare of a buzz saw on "Gilded Pallor." But then again, these remixes are meant for restless listeners, not dance-floor regulars. Found sounds that resemble the Doppler effect of passing traffic sweep over the subterranean strum of guitar on a roadworthy "Garbage Queen," while echo, madly vibrating vocal samples, and burbling notes bump up against distant organ music on the spooked "Demodulator." Sure, there's a lot here that was probably inspired by the grumble and grind of the Oakland freeway that neighbored Davidson's early '90s studio. But there's also a well-defined vision at work – you feel like Antimatter, despite all of his warring impulses and dizzying loops, definitely has places to go and sounds to upend. (Kimberly Chun)

Mo'Fone
Surf's Up (Evander Music)