Though many listeners would rightfully associate with the airy post-rock sound he explored in his band or with his early solo albums, the Chicago musician's muse slowly turned to electronic sounds sometime around the release of his 2010 solo album . The formless modular synthesis of that album led to somewhat more structured ambient electronics five years later on , and with another five years, 's electronic sounds reach new levels of composition and emotional clarity on . was already experimenting with incorporating more composed song structures on , but the sounds were frenetic and brassy. 's sounds are decidedly more focused and pop-minded, evoking the same blend of computer-derived sounds and human feelings that defined some of the most popular electronic pioneers. Bright and melodic tunes like "Summer Places" recall 's steady pop propulsion or the playfulness of while the flickering "Circle Line" feels like a more tuneful take on 's meditative drones. 's earlier modular synthesis soundscapes were glitchy and unpredictable, moving from gentle blips into fields of noise without notice. Most of those noisy impulses are completely gone from . The soft ambience of rhythmless track "September Remember" spills into two friendly segments, the first a slow-moving -esque drift and the second movement a wandering cluster of flute-like tones that marches slowly by. Throughout , 's use of rhythm isn't geared towards the dancefloor but used as an additional layer to guide his interlocking melodies along. The lazy, reflective "The New Last" uses drum patterns that are barely there but shift gradually from phased hi-hats to reverb-heavy claps. These are the strongest and most immediate of 's electronic songs, feeling more meaningful and intentional than the interesting experiments of earlier albums. It took him a few records to get here, but with finally affixes his distinctive melodic sensibilities and songwriting voice onto his electronic compositions. ~ Fred Thomas