While The Hundred in the Hands has muted the abrasive electronic flourishes that peppered its eponymous debut album in 2010, Red Night still abounds with the dramatic urgency of '80s goth rock and post-punk. The Brooklyn duo of Jason Friedman and Eleanore Everdell proudly wear past influences while moving forward. “Empty Stations” opens with drum machine beats that recall those of classic industrial bands like Front 242 or Nitzer Ebb. As the rhythm gains momentum, Everdell sings a bewitching performance, sounding like she’s channeling a young Siouxsie Sioux. Under slower tempos and ghostly electronic flourishes, her witchy wails taper down to a near-whisper in the following “Recognize.” The standout song “Come with Me” is easily the catchiest Hundred in the Hands song to date. While the chilling synth tones and tribal percussion recall the days of clove cigarettes and crepe-soled creeper footwear, the fetching melodies display a pop sophistication rarely heard since Broadcast’s 2005 album Tender Buttons. Everdell’s singing on the title track even sounds like a tribute to Broadcast's late Trish Keenan.