Articulation grabs me at its outset by forcibly stuffing edge-of-noise textures, a loungey tone, and just a touch of trip-hop into one piece. So as I settle in for more of that, it naturally switches gears and becomes a thing reminiscent of 90s downtempo (complete with that thing we used to dig where the sound gets smothered for a few beats like it needed to be suffocated). Beat Still Noise Us is drummer and electronic musician Sébastien Tillous and Articulation is his nine-track offering of catchy, trippy vignettes. Sounding just slightly aged in places (the smother thing, for example) it’s otherwise a fun listen. Tillous’ drumming keeps things sharp and in the pocket between jazzy and smooth downtempo. There’s a surprise or two. “Revelation” ditches the drums and instead becomes a classic-sounding analog synth piece with sequencer and a floaty melodic line. “Découverte Matinale” is a daydream of a thing, warbling pads sleepily stumbling along in the company of glittering notes. It overstays its welcome just slightly, but shows again Tillous’ hand at pieces that aren’t beat-based.

I’ve enjoyed Articulation more as an album within a mix than I have listening to it straight through, but it’s one I’ll keep around. It appears this is Tillous’ first release as Beat Still Noise Us, and there’s enough going here to get me thinking I wouldn’t mind hearing more.

Available at Bandcamp.

Electronic music, world influences, and C.S. Lewis’ Narnia stories come together on Dawn Treader, the latest offering from Chronotope Project and his first as a member of the Spotted Peccary lineup. I mention that last bit as SP has built a reputation around offering big, cinematic music with a strong emotional undercurrent, and Chronotope Project’s sound and style are a perfect fit. (In the title track, which kicks off the album, I pick up a bit of phrasing that instantly triggers thoughts of Helpling and Jenkins.) The worlds we are shown here are diverse and engaging, most working off a very effective framework of repeated motifs. “Canticle for the Stars” is a great example, utilizing the sharp repetition of sequencer to lay down the pattern, then washing over it with classic spacemusic pads. A pleasantly familiar piece. “Basho’s Journey” uses the crisp snap of koto for both its framework and its flavor. Initially I felt that said flavor may have been laid on a bit thickly, but since I always find myself lost in the track and thinking thoughts of 80s New Age artist Azuma, I’ve come to let it go. Quiet flute courses through the track as well, like an expressive, slowly moving dancer. Allen goes fantastically deep on “Ocean of Subtle Flames,” with more rich flute lines for an organic edge, whisper-soft drones forming the background, and a very quietly burbling sequencer line. Another familiar piece that, when I’m not totally adrift in it, leaves me trying to figure out what it reminds me of. But, again, better to just let go and go with it.

Dawn Treader is yet another superb step forward in the evolution of Chronotope Project, and another great addition to the Spotted Peccary roster. Allen is an outstanding composer. His work rewards a good deep listen with shows of thoughtful structure and complexity. A flavorful and thoroughly enjoyable set of pieces, and a must-hear.

Available from Spotted Peccary.

This is fun. On When, AeTopus (Bryan Tewell Hughes) finds a spot for world music, traditional folk, tribal, and classic EM—often all at once. Whether it’s the slowed-down Renaissance dance feel of “Sage” or the rich Middle Eastern flavors of “Metanoia,” When‘s reach is pleasantly global. And when the earthy acoustics are set aside for the out-there-somewhere drift of “Quietus Est,” it’s just as effective and engaging. Hughes goes heavy on the percussion on this release, and it’s part of what makes me enjoy it so much. Almost everything is beat-driven, so there’s rarely a need to stop the toe-tapping and head-bobbing. Cool touches abound. “Neverwheel” kicks off like a madrigal on guitar, adds light finger-tap drumming and beautiful string sounds, and laces it through with smooth electronics. It’s a great old-world-meets-new-world piece. The strolling jazz bass line that kicks off “Gather” is a great surprise, which just gets better as Hughes develops his sounds around it. It’s got a serpentine feel and, like many tracks here, a touch of exotic flavor—an incense smoke kind of thing, if you will. “Hindsight Axiom” blends acoustic guitar with a strong spacey feel. The start has a nice tenuous/minimal feel, which Hughes breaks with a sudden burst of chord and some dense low end. Familiar synth runs, that kind of “music of the future” glissando, arc like comet trails in places. Hughes plays with the shimmering sound of the chords late in the track; they sound wonderfully large.

Hughes’ compositions are deep and robust, with many levels of sound crossing and layering. You can hear how carefully each element is placed and why it’s even there. The mix of acoustic and electronic is balanced with just enough bias given to the acoustics to lend the whole album its signature tone, that sense that Hughes has reached back in time for his sources, then electrified them just a touch. When is a pure pleasure to listen to, and I think it may represent AeTopus at the current top of his game. Can’t wait to hear what comes next.

Available from AeTopus’ website.