It’s good to hear from Scott Hansen again. There’s been barely a peep out of him, in the guise of Tycho, in the seven years since 2004’s debut full-length Sunrise Projector, but the San Franciscan beatsmith has at last deigned to put out a second full length, in the form of Dive.

I did say barely a peep. Hansen’s “cheated” just a little in this instance. As Sunrise Projector was reprised two years after its original release for Past Is Prologue, Dive first started trickling out years ago, a series of relatively fanfare-less EPs beginning in 2007 with The Daydream. And so for the physical media junkies, or the lazy or semi-interested among us, those EPs have now been released collectively as Dive, a pastoral journey down the more scenic of the electronic routes.

I don’t mention laziness and semi-interestedness by way of holier-than-thou crackery at latecomers, download-only music fans, or anyone else. I didn’t know about those EPs until I came to research Dive, and Tycho had been off my radar entirely for a number of years. But it’s a particular danger that comes with the music present on Dive. Detractors (hypothetical ones at least) could easily find a way of confining the release, and indeed Hansen’s output as Tycho, to the coffee tables of the half-hearted, background music for the marginally hip. Dive is eminently likeable, containing little divisive content, and in the hands of just anyone, the record’s blueprint – crisp straight beats, sleepy bass, and some of the most out-and-out pupil-dilating melody this side of the Balearics – could easily be turned into tasteful, but nonetheless boring electro wallpaper.

Luckily, though, Hansen isn’t that guy, and Dive isn’t that record. The record’s original format as EPs is present if you’re already aware of it, but never to the result of incongruity. Where the title track presents us with clipped beats and some electric guitar work that verges on Krautrock, other sections of the album – ‘Daydream’, say – tends toward acoustic picking beneath the scratches and scrapes, reminiscent of those early noughties releases on Merck (whom Hansen worked with for the Tycho release Past Is Prologue) or Morr. Further in, ‘Melanine’ combines the latter approach with lead synth lines that dredge up hazed-out memories of Ozric Tentacles playing through speakers in a smoke-filled bedroom. These sorts of subtle switchups again help distance Tycho from the coffee table, adding variety to his unabashedly pretty electronica.

That Scott Hansen is a graphic designer as well as a wrangler of beeps and blips is neatly fitting. On one level, Tycho’s sophomore effort is simply music for sunsets, best exemplified by a track like ‘Hours’, with its minimal four to the floors and blissedout synth washes. It’s warm, it’s glowing, it’s beautiful, and you’d be hard pressed to find anyone who actively dislikes it. On another, however, Dive, and indeed the Hansen-drawn incandescent orb on its front cover, are more than this – they’re a skilful (if not always radical) reworking of a stock image that’s become so ubiquitous in electronic music, wordless expressions of something uplifting and gorgeous, and happily, the unassuming craftsmanship invested in them puts to rest any accusations of mediocrity.