The cacophony of “Lost It to Trying” is commanding, with its bari sax-bolstered bass, big percussion, recorders, and squelchy keyboards, especially once we accept the lyrics are probably beside the point. The first half of Lanterns has a lot of promising moments.

But by the time he begins repeating “Make what we believe / don’t we make what we can” like a mantra, the piece is already fading from memory. Backwards-sounding effects and heavy reverb (that occasionally drops altogether) rest on an uneasy beat that barely supports his fragile vocal, and yes, this is a new sound, even for Lux fans. Lux kicks off Lanterns with the whispered words “alternate world / alternate beach / alternate wave,” leaving little doubt as to what he’s trying to create. Walls & Mazes earned him a “Best New Artist” accolade from NPR, and Lanterns seems to confirm he’s still making music for the NPR crowd. He works in a post-rock format in which the music primarily exists to be deconstructed. If that sounds a little like latter-day Radiohead or Flaming Lips, that’s because it is, but there’s almost nothing “rock” about Lux’s works. His debut, 2008’s At War with Walls & Mazes, introduced his conceit: shy vocals blended with electronic sound, punctuated with orchestral and choral flourishes, brandished with the occasional wind or string instrument, topped off with drum loops and lots of reverb. There are interesting lyrical ideas at work, but the vocals are often processed until his wispy voice (among other voices) becomes just another component in the swirling mix. Son Lux (nee composer/experimentalist/hip-hop beatmaker/film scorer/Sufjan collaborator Ryan Lott) likes to play with structure and moods. Each song on Lanterns is impressive and admirable, and some are even pleasing on their own merits, but ultimately, the parts are greater than the sum. Lanterns offers up enough sonic challenges to cause a massive battle within anyone’s headspace. But the more I think about it, the less sure I am.

I’d like to think it ain’t just me, that the ethereal melodies and neo-classical conceits of Lux’s songs are clashing mightily with his desire to pummel us with disparate sounds, to assault us with all the manpower his mighty collection of MIDI plugins can muster. There’s a riot goin’ on, but I’m not sure if it’s in my head or in the grooves of Lanterns, the latest electronic soundscapey concerto concoction from Son Lux.

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