The much-blogged-about duo of Sam Haar and Zach Steinman open their eponymous 2012 debut album with “Lover,” a gradually building party soundtrack that flits and flutters with sparkling synthesizers for nearly two minutes before the beats drop alongside a rotund bottom end. But this gem's brilliance shines halfway through, when samples of a crowd cheering are mixed to match the rhythm’s pulse. They follow this with “Hater”: a conceptual yin to the yang of “Lover,” it’s similarly layered on a horizontal plane, starting with percolating tones that skitter alongside darker drones. That's overlapped with menacing analog keyboards that sound pinched from Barry De Vorzon’s foreboding soundtrack to the 1979 New York gang movie The Warriors. Over this, they spread a big creamy bass and sternum-rattling beats. Blondes also comes with remixes, with Andy Stott’s spooky reworking of “Pleasure” an innovative standout.