Say what you will about Older Future, the electronic music-you-can-dance-to purveyor. Talk about his unusual style of flipping vocals, for example, in which he routinely comes in under the beat, sometimes with so many discordant background voices seemingly talking gibberish that it’s hard to make out what the vocalist is saying.

Or acknowledge his propensity for going off the Richter scale with the tiniest, stubbiest synths, which adorn just about all of the tracks on The Captains, his 9-cut release with tunes titled like “Supersong” keep my job edit”.

Point out the paradox in his name if you will, or the seemingly desultory nature of the title of the work. Go ahead, say whatever you want.

It still won’t change the fact that the man knows how to hook up some drums. Sometimes, as is the case on “Mitch”, the first tune on the album, he does so to perfection. “Mitch” has a super duper corpulent snare—way beyond fat. It sounds so good it only takes one kick, and the timeless ‘kick, snare’ drum pattern, and he’s already got the makings of a hit record.

As has been stated, the vocals are certainly idiosyncratic at best. However, it’s almost certainly a style you haven’t heard before and, to dude’s credit, he’s actually got a sumptuous melody or, more precisely, more than one.

So what if you can’t tell the hook from the verses or make heads or tails of the song structure? Money is doing much work, particularly on one of his panned synths that gyrates so much it sounds like an electric guitar. He adds the video game sounding tom toms on there for the breakdowns, and has a clean track virtually no one can dispute.

But those drums, they return again and again as the treat of the recording on numbers like “Supersong keep my job edit”, which also features a relatively hard bass line worth paying attention to. His snare is a step or two above the likable level for most of the other instruments on “The Confession”, particularly the one in the drum pattern (which is relatively easygoing but seems much faster because of the wizardry displayed on the pattern) that has ridiculous effects. It’s on this track that he revisits the smooth keys unveiled on “Neon Summer”, which almost hypnotize with an understated intensity.

Again, there is so much to be said about this effort as a whole. But the panegyrics should be reserved for the drums that underlie the entire affair.