The appeal of laser light shows seems pretty obvious: the colors, the music, the whole retro thing, the lying down. The being high. And, of course, the laser beams. I have no idea if New York musician and analog synth freak Morgan Z, who records halogen-coated, futuristic movie anthems as Chrome Canyon, has ever attended one of these events. But if his debut album, , is any indication, the guy's a season ticket holder. As a student of sci-film film composers like Vangelis and Wendy Carlos, Z works on a cinematic scale that ranges from over-the-top to the completely ludicrous: Synths blare with a strange regality fit only for the coronation of a new Martian emperor, Theremins squiggle, keys and effects dart back and forth over too-crisp snare cracks and ballooning bass cushions. But unlike the celluloid images that those aforementioned composers had to work with, Z's inspirations feel decidedly less celebrated. Simply put, is essentially the score to your favorite "Mystery Science Theatre 3000" episode, only this time, the commentary is up to you.