Recorded in the Brooklyn home of singer/songwriter Luke Temple under his new moniker Here We Go Magic, the self-titled album is a wildly uncontrolled experiment. The electro-folk record was made with a SM-57 microphone, a cassette four-track and analog synths in his bedroom. In the 9-track Here We Go Magic, Temple’s simmered-down vocals thaw through his cooled permafrost layers of polyrhythmic instrumentals.

As a former artist, Temple lived in his sleeping bag in the woods during high school and later painted murals in wealthy New Yorkers’ apartments for a living. He began singing when he found the visual arts to be “a bit too cloistered” for his liking. In 2005, he released his first album, Hold a Match for a Gasoline World, under Mill Pond Records, followed by the intimate Snowbeast in 2007. This time around, in Here We Go Magic, Temple’s sound is undeniably more industrial and untamed.

In “Only Pieces,” Temple hollowly asks the question: “What’s the use in trying, dying if I don’t know when?” Like an answer, the eclectic instrumentals are jilting and sporadic. “Fangala” floats by like a tragic fantasy. Its broken-down, resounding acoustics provide for an endlessly eerie poem.

The joyful noise found in “Ghost List” and “Babyohbaby” is reminiscent of the backdrop soundtrack to an existential dream. Buzzing and brilliant, these tracks are set in a rife machine world too similar to reality. The acoustic instrumentation in “Tunnelvision” sweetly gallops through Temple’s gently swaying voice. Temple takes a departure from the synths in “Everything’s Big,” a grandiose song with a shine of satire.

Look for Here We Go Magic on their North American tour with Grizzly Bear in late May.