What do you call musicians like Com Truise? He seems easy enough to pin down—throw out some words like "nostalgia," "synth-wave," "eighties," and "electro-funk" and you'll scrape by—but to be truly insightful about his music is tough, because art that is so blatantly referencing certain things in a certain way while also making them weird and new and unique is confusing. How do you classify something that is so obviously both vintage and current but is too fun to call postmodern? "Awesome" is an option. Especially when it sounds like you're driving the Knight Rider car through thick clouds of nitrous oxide, like "Fairlight," the title track from Truise's new single, which previously appeared on an ISO50 comp called Dry Waves and also has this jarring, falling-all-over-itself middle section that prevents you from trancing out too hard. "Beta Eyes," the track that follows, is even more restless, with a drum pattern that's fidgety and clustered, kicks and snares fighting each other like two drum and bass heads arguing over an Atari remote. The single's sendoff is "Polyhurt," a narcotic, almost ballad-like closer that inevitably leaves you thinking, "Now, how the hell am I going to describe that to someone?"