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Ephemeral Exhibits (2008), 6/10
Ear Drums And Black Holes (2010), 5/10
Orbits (2012), 4/10
The Transponder Orchestra (2015), 5/10

Philadelphia's producer Paul "Starkey" Geissinger fused the dubstep coming from England with hip-hop and obtained "street bass", a variant of wonky, via the EPs Local Headlines (2006), Corner Store (2007), with Corner Store Riddim, and NC-17 EP (2007), with Pins, and especially the single Bounce (2007).

The album Ephemeral Exhibits (2008) contains both propulsive tracks like Gutter Music and Pictures and anemic shuffles like Miracles (that uses high-pitched vocal samples).

Ear Drums And Black Holes (2010) contains autotuned (and science-fiction inspired) songs like Alienstyles and especially Spacecraft as well as moody raps like Numb (rather tedious). The instrumental tracks seem to search for a new-age kind of contemplation. The only standout is Stars, whispered by an angelic female singer over the most ebullient (almost Brazilian) rhythm.

Orbits (2012) dabbles in a hodgepodge of styles (ambient, dubstep, electro, and mostly new-age melodies) without succeeding at any. It omits the single Solar Flare (2012), perhaps his best trap number.

The Transponder Orchestra (2015) indulged in oddly amateurish experiments like the seven-minute symphonic electro-hop This and the ten-minute drone fantasia We Get Lost Among the Crowds.

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