“Gliss Riffer” truly stuns, though, when it transitions from the populist into the conceptual. Consider the hiccupping, pre-set drone bop of ‘Meme Generator,’ where diced vocal carousels stipple stirring streaks of New Age keyboard. Deacon combats his own compositional nature on ‘Steely Blues,’ where a tendency to favor sheets of straight-up blips and bloops is supplanted by swiped, dashed tones that eventually bleed into a single gorgeous choral hum that gradually and slowly fades out. Arguably more striking is ‘Take It To The Max’—an extended workout that loops flutes, piano samples, a cunningly arranged splay of electronic tones, and chaotically chopped voices into dazzling avant-pop that quotes African drum LPs, Steve Reich, and remix culture at large. If you stumbled into a friend’s home unawares while ‘Take It To The Max’ was playing, no one would blame you if you couldn’t quite put your finger on the musician responsible for it.