Moped Sally’s four-month-old LP Cadaver, which is the 10-track creation of writer, performer and producer Mason Wallace, makes a hell of a first impression with opener “The Only Lonely Holy Roller.” It begins quietly, but a minute in, it starts sounding like a song you might dance to if you had a million dollars, got it changed into all ones and took the cash to a sleazy club to dance around with. And that’s just track one.

Both breezy and tight, ominous and robotic-sounding effects—warbles, buzzing and plinking—all converge here along with a dreamy acoustic touch and an occasional trace of classical (like “Sage”). To me, that’s better than a bongo drum to back Wallace’s spoken word, which are mostly muted and a backdrop to the music.

Said spoken word sounds like a madman’s mutterings on “Shiptoe,” a windy number on which acoustic guitar and electronics make friends, sounding like sea winds passing through the mouth of a guitar.

The deep, deep acoustics on “Satan’s Guide To Getting It Together,” my favorite little number on the whole record, sound like a mixture of Mellow Gold and Sublime, and the vocals brought a quick flash of 311. And I’m almost certain one of the lines is “I’ve had it up to here with being your clean dream.” It breaks into a little acoustic jig before mellowing out into “The Stream,” which features a twisted line of lyrics that sometimes veers toward a gloriously creepy and nonsensical Allen Ginsberg-esque style.

Like Aaron Weiss, Wallace sometimes rides that funny line between monotone and melody when he sings-speaks, combining an ever-changing mix of the acoustic and electronic—we’ll call it acoustictronica—that can sound like a classical concert with effects thrown in, a Euro club experience, the score for a slasher movie (“Do You Love Your Gun?”) or the score for a car-chase movie (bonus 11th track “Doost”).

To hear the album or for more information, visit mopedsally.bandcamp.com.