The neo-classical piano at the start of Shinji Wakasa’s track “Swimmy” is lovely enough unto itself, a gentle line heard as if through a felt screen, not so much muffled as it is coddled and framed, softened and nestled. And then the light transformations are introduced, wisps of synthesizer flourishes, backward masks that merge with the sound source, fibrous shoots of sound that for mere moments seem to fix the nostalgic melody in something more proximate to the present. And then the past forges back into the foreground. The synthesis isn’t so much evidence of a hybrid as it is of an augment, an upgrade, a fissure. It’s absolutely beautiful.