Alex Lloyd’s debut album was the product of converging events: the split of his bluesy rock band Mother Hubbard, his breakup with his first real love, and a burgeoning interest in production and music technology. Solo both romantically and artistically, he spent hours in a friend’s studio in the Sydney suburb of Balmain writing songs that incorporated an electronic tinge into the indie, largely acoustic numbers he was penning, while experimenting with production techniques and otherworldly effects (especially on tracks like “Something Special”). The fact that many of those sessions took place between midnight and dawn account for Lloyd’s hushed vocals across the album, even as the music around him swells into unexpected places—witness the explosions of flute in “Momo.” Produced by former Psychedelic Furs keyboardist Ed Buller, Lloyd’s heartbreak informs the title track, his fascination with Japanese culture in the song “Gender,” while Billy Wilder’s 1960 film The Apartment inspired “Lucky Star.” “Backseat Clause” is a fitting way to end an album that walks the line between classic songwriting and experimentation, incorporating glockenspiel and ’80s-inspired synths to elevate the song beyond quiet acoustic territory.