Breckman’s “OTO I-O-T-D” is a reflection of the peculiar outlooks of his time in Vienna, where the Avant Folk Art Agency has thrived since 2013. The label’s archive of soundtracks can be a little disorientating, as Breckman has infused his own signature sound with a variety of exotic and modern instruments. I remember the music of Vienna as being fiery and energetic, with Breckman regularly playing loud, brassy plangentos over the din of the street. This is a definite departure from his usual melancholy, mournful music.

The first time Breckman has done something with a keyboard was on the self-produced “Metamorphosis” (2011). He later scored the film “Untitled” (2014), but the album was something he developed over a period of decades. So it is with OTO, his new album. The music is more in the spirit of the film, where Breckman’s seething electronics and industrial vibes are complemented by the cinematic voiceover. The opening track is comprised of a series of metallic plinks and bubbling, gongy sounds. The album’s second track, “S First Noise”, is Breckman’s take on a post-punk classic. On the next rack, it continues in this spirit, this time with a more intense psych vibe that moved with a range of emotions. The album is presented as a series of brief but intense vibrations, with each track giving its own cosmic, or cosmic fantasy.

There are sounds that come across as a bit of a blur, like a stream of cheap, hollowed out guitar chords or a barely there drum machine pulse. But the constant pulsing structure of Breckman’s compositions keeps the listener on the edge of its cosmic fervour. On “Sump” it’s not just a few minutes of distorted drumwork, but about fifteen minutes of pulsing drone, with occasional bursts of drama and excitement. Breckman isn’t inventing new music, but bringing together old and new to create a new experience.

Finally, on “Still Life” Breckman switches from electronic to acoustic; the drums come across like scratching, with the guitar played over and over. This is a moving album, with occasional moments of drama, as Breckman’s aural approach becomes more agitated, while his electronic approach cranks up the volume. The final track is the tightest and most intense, as Breckman’s drums build to a toll-like drum beat whose intensity builds as its duration dwindles; I nearly gave the album away moments ago.