Montreal producer Michael Silver, or CFCF, is a master of mix tapes and EPs. However, before now, he’s previously only graced us with one LP – 2009’s rambunctious ‘Continent’; a record that was as luscious as the foliage that graced the sleeve.

His sophomore effort ‘Outside’, begins on a confident note and one that’s only carrying him forward. Beyond Light initially comes at you in robotic syllables, technical in the execution like life rushing by in binary. What starts off as Balearic grooves with domineering drums, develops to something more majestic. It’s already hard to believe it’s only his second LP, and is the perfect taster as to whether you’re up for the mains and dessert. It’s also the first hint that CFCF is very much staying true to himself, but has picked up the pace to hack through further genre-bending.

A stand-out factor on this album is the addition of Silver’s voice, often restrained and fighting for glory, but rarely anything other than an enhancement. On Jump Out the Train for example, his voice is void of emotion but provides a welcome anchor to the melancholy. While the technology is modern, the addition of the New Order-like vocal ensures that the sound is pure 80s.

The atmosphere in the beats make this album a perfect travelling companion, and it figures, as Silver says he wrote it all while travelling across the states on buses and trains. Sure, he’s made night bus fare in the past, but this feels a little less lonely. He’s there, his vocal filling a void that was previously A.I.

On the other hand, where Continent was jumpy and a mover, ‘Outside’ is a venture into the ethereal. You could practically meditate to The Forest at Night, like it’s lulling you into a sleep but an off-putting synthesised clock is ticking around your inner skull. That doesn’t make it any less enchanting, sound-tracking a fairy den opening to reveal various cutesy mythical creatures.

A cover of Bonnie ‘Prince’ Billy’s Strange Form of Life stays faithful while being pissed upon with CFCF’s scent. No easy feat, but something he’s now well adept at, with Fleetwood Mac’s The Chain one of his more notable tracks. The only problem is that he takes them too seriously, this one is almost holy in its praise and sincerity.

On the complete opposite end of the spectrum are the tracks that literally sound like the outside. The nature-filled Find proposes glorious synths with that melodic guitar in its own little world, as if threatening to break off into Whiskey in the Jar. Walking in the Dust has a similar wildlife chirping behind its restrained panpipe modes. It’s a bit of a cheesefest with Wire’s voice a creepy whisper over childlike beats.

‘Outside’ is dreamy, and divine in the holiest of senses. It’s probably kind of stuff Phil Collins would make now. While the textures are so rich, some tracks like Transcend risk fading into the background. But when there are stand out moments, they grab all attention. It feels like Silver has made a transition from producer to more of a songwriter, the ideas fleshed out so well there’s bound to be a bit of overspill.