Jason Drake’s multi-instrumental solo project, Cassettes Won’t Listen, is a synth-pop lover's dream. Cassettes Won’t Listen has been receiving considerable online buzz ever since 2005’s digi-only Nobody’s Moving EP was released. Two more digital EPs followed, with 2006’s The Quiet Trail and a free covers compilation called One Alternative. With Drake’s latest release, Small-Time Machine, the jump to CD took place and its seven tracks are well worth a listen.

Small-Time Machine is a delightfully melodic album. It is also emotional, particularly for synth-pop, which can often leave expressive songwriting behind in favour of blips and parlour tricks (not that it’s a bad thing in the right hands). Drake keeps things simple, making the album accessible.

Drake’s record moves merrily between elements of trip-hop, indie rock, and drum-and-bass. With such well-built melodies and unique sounds, one figures that he could get away with just about anything. Drake has placed his songs skilfully, too, allowing each one to flow into the next. When the album kicks off with sounds of what could be background noise from a cafeteria and ventures into staccato piano, it’s a thing of beauty.

“Metronomes,” the lead-off track on the disc, uses the aforementioned staccato to accent the flexibility of the song. It’s a great indicator as to what Drake has in mind for the album. With “Large Radio,” he builds on earlier themes and develops a really slick-sounding beat. The echoes are unanticipated on the first listen, but upon further excursions they plainly become part of the song and work with the beat.

“Paper Float” starts up with a sort of robot-and-piano duet, but becomes pleasantly gratifying very quickly. This feels like The Hills, in a way. But in a good way.

My favourite tune on Small-Time Machine, “Freeze and Explode”, is lyrically strong and very catchy. The chorus is tremendous and should find a place as the album’s single of choice. Beautiful stuff.

The “hardest” track on this soft album is “The Broadcast.” After a measured intro, the bass begins to bump and a little distorted guitar guides things along. As with most songs on Small-Time Machine, Drake favours an abrupt ending. “Two Kids” is a carefree song that feels ripped from the '80s. The chorus is likeable and perfect for car rides or, perhaps more truthfully, car commercials.

To close out the album, “The Finish Line” features a peculiar mishmash of soft vocals and lots of scratching on the melody. The echoes are back and it’s a good closer to an abstract album.

Cassettes Won’t Listen softly toys with the line between indie rock and electronic music without sounding fuzzy or forced. There is a lot to like on Small-Time Machine and it’s a generally cheerful and smooth record. At seven songs, it does seem to come up a bit short, but it still serves as a nice taste of some good songs. I think we’ll be hearing a lot more from Jason Drake in the near future, so you might want to pick up Small-Time Machine and jump on the bandwagon now.