I’m a sucker for John’s J.O.C. gear. They’re typically tough, dark and minimal and rely on calculated subtleties to hit your synapses. No surprise to find then that the subversively-titled ‘Goodnight Irene’ is seven-and-one-half minutes of — yes — tough, dark, minimalism. Many are its moments, but the mad drama of its bass drops, open hi-hat hiss, hard-struck snares and the looped, panned, filtered and generally screwed-with FX all contribute.