Neoclassical music with orchestra, synths, piano, and ambient textures. Portland composer Matthew Cooper, who's been working under this name for twenty years, is moving away from his earlier mysterious dronescapes toward something more compositionally refined but still dramatic. As on his noisy and maximal 2016 record False Readings On, technology-driven anxiety and discord inspired the music here. But this music is pretty and melody-driven throughout, even when the layers get dense. RIYL Philip Glass (and Koyaanisqatsi), Nils Frahm, Max Richter, Ólafur Arnalds, A Winged Victory for the Sullen. Favorites: 3, 4, 7, 10. Almost entirely instrumental, no FCCs detected.

1. (1:37)—Mechanical clock sounds, slow anticipatory string swells.
2. (2:37)—Staccato high strings, punchy piano. Nice drone textures.
3. *(8:01)—Soft bubbling synths, slow deep strings. Faster, pointillistic strings build tension.
4. *(3:34)—Heavily processed sounds of distant voices. Solo bass clarinet with string accompaniment.
5. (5:55)—Medium-fast Philip Glass-esque arpeggios, big sci-fi synths. Long disintegrating ending.
6. (2:30)—Organ/harmonium drone, soft sawing violin. Deep piano, a flash of spoken word.
7. *(4:11)—Heavily manipulated voice, swelling strings, soprano. Intense.
8. (2:16)—Fragile solo piano, reprise of track 5.
9. (3:43)—Medium-fast, with high strings and a subtle chugging bass rhythm. Noise builds then cuts out suddenly.
10. *(3:04)—Slow, melancholy piano chords. High drones. Remains soft throughout.
11. (3:46)—Mid-tempo, lockstep piano and strings, dense synths and (near the end) percussion. Gentle ending.