Second album from rising English synthpop artist William Doyle, who recorded this at home and namechecks artists like Eno, Fennesz, Tim Hecker, and Factory Floor in interviews. This lies firmly in the tradition of UK artists trying to bridge the divide between mainstream pop and experimental electronica in the 70s and 80s.

Ultra-trusty UK tastemakers The Quietus liked Doyle’s music so much that they started a label to put out his debut, so at first I was disappointed in what I perceived to be an album of 95% throwback (with a few really cheesy synths included) and 5% gestures toward something really new and cutting edge for a pop record. Though there are definite uneven points here, turns out I was way too harsh on first glance: for something on XL Records, this thing truly is weird in the way it rewards extended attention through a kind of ascetic, mannered hypnosis. No FCCs detected. Favorites: 4, 5, 6, 7. The middle third is by far the best.

1. (4:39)—Instrumental. Cool, noisy granulated synth build. Fades into track 2.
2. (5:17)—Medium-slow, syncopated, chill, unhurried. Marimba pulses.
3. (3:53)—Mid-tempo, funky, bright, kind of saccharine in a way that reminds me of roller disco.
4. *(4:08)—Mid-tempo, poppy, somewhat jazzy. Minimal then dramatic.
5. *(6:48)—Mid-tempo, four-on-the-floor, stark, hyper. Fans of early dance music will really like this, arpeggiated synths and all. This is way cool.
6. *(4:22)—Instrumental, mid-tempo, four-on-the-floor again, but this time more industrial. Unexpected house track! Hell yeah.
7. *(6:22)—Slow, beatless, avant-diva epic. Synths sound like they’re imitating Basinski’s “Disintegration Loops 1.1.” So damn beautiful.
8. (4:58)—Medium-slow, skittering beat. Seasick piano.
9. (10:18)—Slow, glittering, plodding, spacious. Long, abrasive synth outro.
10. (4:34)—Instrumental. Big, sweeping synths.