The Depreciation Guild is two guys and a Famicom. That’s techno for a certain brand of gaming hardware — Nintendo. The result is an intoxicating swirl of shoegaze dreampop and electro artfulness that leaves you swooning. Kurt Feldman and Christoph Hochheim take notes from My Bloody Valentine, Ride, and Cocteau Twins, as well as more contemporary acts like M83 and Ulrich Schnauss. Hmmm. Taking your beloved old school Nintendo Entertainment System to unexpected concert-hall packing potential; now there’s an idea! Their album — In Her Gentle Jaws — is available for free download via their website. [hear also the music of fellow Brooklynites, Yeasayer]

Listen to The Depreciation Guild track, Sky Ghosts.

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DFA Records need little introduction to dancefloor devotees, but Hold On, a recent release by lesser known artist Holy Ghost!, may not be on the radar just yet. It will be though: we nominate it for track most likely to receive stereo overplay.

It’s either the eye-pop effect of his palette or the graffiti tag sensibility of the brushstrokes that endear David Reed’s new paintings to me. They just seem familiar. In what can feel like an austere and exclusive world of high culture and Chelsea art openings, his solo show opened with a mix of 20-something hipsters and beret-topped collectors. So it seemed like Reed achieved what his bio outlined as his original premise — to re-contextualize abstract painting within a greater visual culture. His exhibition runs at New York’s Max Protetch Gallery until December 22.

Says Sydney-based artist, Clinton Gorst, of his work: ‘About fourteen years ago, I started to make collages for my walls when I was living in a bedsit in London, and soon after that I started to give them away as framed presents. It was just a hobby at the time, but that grew to become a passion once I started to collect resources for future works. I was encouraged to exhibit after a friend of a friend looked at my works and bought five or six pieces on the spot! Recently, I’ve been taking my own photography and using that in photomontage. I’m also creating a new series of digital images that mixes portraiture with pop aesthetics’.

Entering Mike Nelson’s exhibition in a dilapidated garage on New York’s Lower East Side, I’m signing a release form exempting Creative Time from any responsibility should I be injured, or die, while checking out ‘A Psychic Vacuum’. I was curious to see what socio-cultural hotpot he was gonna stir, but after signing that, I’m totally seduced, just by the potential danger of it all. Racy it may seem, but the ensuing exhibition is about as sexy as Dubya in a garter belt. Though it manages to arouse more than a few dust reactive sneezes, digging up buried fears of a global apocalypse that feels far too close right now. Known for his large-scale architectural installations, Nelson’s turned an irrelevant warehouse-like space into a haunted house of hard cultural truths tackling American values, religion, and war in its spookiest caverns. Nelson’s installations are fleeting, this experience ends October 28.

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