Human memory is selective, favoring joyous moments in the margins of our lives. Why else would we buy the picture of our goofy faces on a roller coaster or bother with nature photography? We crave the butterflies that fill our bellies on momentous occasions, and KNIGHTSTOWN, also known as Michael Aston, has found a way to capture the sensation in his music; his eponymous record explores what it means to have your breath taken away.

The London native gives an acute vocal performance powerful enough to command all of KNIGHTSTOWN. His voice is laid over graceful, muted electronics, with production that could be a worthy contrast to Matthew Dear—the difference is that the latter is known for his vocal depth. The breadth of Aston’s performance is most tangible in 'Border' when his pitch undulates. A similar feeling comes in 'Catcher,' where the sung melody feels like the equivalent of skipping through a field of rye. (The song hinges on a reference to J.D. Salinger.)

Atmospheric production draws out emotion across the record with the help of orchestral effects. When strings reach the heights of Aston’s falsetto, sparks fly. A particularly moving track comes in the slower single, 'Eyes Open Wide'; the chorus is lighter than air yet could shatter glass, like the destruction of a house of cards. Other slower jams on the record have a unique flavor of melancholy, such as the piano-driven 'Moon' and the forlorn 'Two Appear.'

KNIGHTSTOWN occupies a niche of electronica that is simultaneously robust and delicate. His steel-clad moniker doesn’t properly convey his sensitivity, but some things are better felt than described.