Tadd’s focus on the inherent rhythmic complexities of centuries-old classical music styles combined with an intuitive sense of electronic production results in a captivating album, Winking Makes a Face. “I enjoy new uses of melody and harmony in both conventional andnon-conventional music theory,” says Tadd. “I also enjoy music that integrates both eastern and western scale, or, music which is written to ignore scale and proper melodic structure. I also listen to non-music and have great interest in sounds outside the context of music.”Winking Makes a Face shuns easy classification through dramatic shifts in mood and tempo. The opening tour-de-force “Minajor” features multiple melodic threads of synthed strings that could easily fill a concert hall; moments later, on “Lulla”, Tadd curtails those ripe emotions into a soothing brook of vibraphone tones and subtle DSP-crunched pulses. Later, Tadd brings to bear his studies in guitar and bass to conjure up the ghost of old-school New Order acoustic brilliance in “Enfant Dans La Chambre Respirant”.Like a bolt from the blue, Winking Makes a Face can be overpowering at first, jarring because it displays a range of beauty and technique condensed into a flash of sound.