The digital edition of Shackleton’s latest release slaps a series of widescreen EPs (The Drawbar Organ) alongside an equally ambitious album (Music for the Quiet Hour), leaving open-minded listeners with nearly two and a half hours of new music to wade through. And what a daunting digestive tract of sonic detritus this is, sending the producer’s singular version of percussive bass music through a dizzying array of ominous pipe organs, vaporized vocals, slow-building beatscapes, frothy feedback, hazy red herrings, and paranoid spoken-word passages (the abstract poetry of Vengeance Tenfold, which emerges from the ether like the learned words of a post-apocalyptic wiseman). As for what separates Shackleton’s EPs from his latest long-player, that’s really a matter of mood and tempo. While The Drawbar Organ is spacious and sound-designy, Music for the Quiet Hour is as live and direct as this kind of thing (read: experimental but engrossing) gets. To quote one of Vengeance Tenfold's standout lines, "Music is the weapon of the future." Indeed.