Danny Wildcard, formerly the front man for the “ship-hop/alt-country/punk” hybrid The Wildcard Family Revival, which also featured Johnny Foodstamp, a Rubik’s Cube and Agnus Headrush Sr., started playing solo and released some influentially similar but barer tracks on this year’s full-length, Structure, a title somewhat contradictory given Wildcard’s tendency to play around with musical forms. It becomes more and more obvious that the record is, for all intents and purposes, a punk record in its demeanor, its carelessness, its humor, its lyrics and its abrasiveness; just imagine the acoustic instrumentation replaced with electric guitar on Structure’s 12 tracks and speed them up, and it’s easier to see.

Wildcard’s vocals are scratching, raw, a little bit strangled and sometimes pubescent-sounding, and cracking, which all works out for Structure and pairs appropriately with his acoustic strumming. The banjo is resonant, tart and has a distinct metallic taste, and that’s a constant throughout an album that toys with musical genres that cross eras and occasional continental boundaries. “Changin’ Winds,” the opener, starts off in basic slipshod folk format but gives way to setting some varied musical moods, like on “Devil’s Playground,” which, though it’s contradictory to say, has an organic, backwoods techno vibe to it.

The bareness of the strumming, the distant sound of Wildcard’s vocals and the overall under-produced sound of  “Everything Crumbles” manifests the spirit of early ’50s rock ’n’ roll. “Gift of Gab” bears the rhythm of a folk dance, and tunes like “Low Little Lady,” which with wry humor chastises a loose woman, and “Shake Shake” bring to mind Colonel J.D. Wilkes’ swampy and foreboding musical landscapes, stomping rhythms and vocal snarling that could raise the dead. Structure certainly has some because the tracks are all rooted in a jangly, ramshackle folk style, but the record still has some aural surprises.

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