Perhaps part of the reason why the music Scotsman Iain Findlay-Walsh makes as Klaysstarr is how rarely new material shows up—meaning that when it does, you know it’s been either meticulously crafted or at least well thought-out, or both. But the thing is, this one-of-a-kind sonic language is so open-ended and holistic that it feels unfinished in some fundamental, beautiful way. I’ll still be singing the praises of the 2019 Entr’acte disc w/hair ph<> n mus|x when I’m well on the way to my grave; I have never heard music so sublime and so singular, and I’m starting to doubt I ever will… until there’s a new Klaysstarr release, that is. Which brings me to Fifty-One Aural Selfies // Real Time. The significance of the minor name change escapes me, but deliberate, playful obscurity is indeed the project’s modus operandi (just look at the cover). Maybe it’s a reference to the way Findlay-Walsh’s very direct field recording collage technique seems to unfold and collapse the dimensions of the environments it captures, or how in that act of capturing there’s so much that slips through. All of the familiar ingredients are here—restless jingling of keys, zippers, leashes; claustrophobic expanses; jarring structural movement—and even another moment of serendipitous pop music ambience much like that of “b|rn wa|king on”, albeit this time with a much more recognizable song. Absolutely no one else is doing it like this right now. Not even close.