That structural approach to songwriting puts the emphasis on the vocals.

The unusual male vocals are sheathed in gentle reverb (not garage rock’s canyon-esque echoes), and fall just above “coo” on the intensity level. The voice is not immediately arresting, but when paired with the pulsing, shifting tunes, it becomes the final piece to pull these tracks together.

“Things Left Unsaid” features a gentle, Postal Service beat and chiming guitar in the chorus, which is dropped without warning for squawking bass synths and a noisier beat.

It’s the sort of songwriting move that grows on you, but is originally unsettling.

Norman’s Two Suns has its own idiom that I grew to deeply enjoy, but it’s not an immediately accessible one. Those who prefer the more artsy side of electronic pop to Owl City should enjoy it, at twosunsmusic.bandcamp. com. —Stephen Carradini