TYNES is the solo project of Jackson Fairfax-Perry, the stoic sonic spine of Hillsburn—that’s him in the centre of the synth-and-effects setup the band calls The Spaceship, nudging nuance and dynamic layers into the group’s high-octane, emotionally driven pop performances.

In that configuration he’s one part of a four-piece stage production, but as TYNES, Jackson is the whole show. This music marks a shift towards hip hop and electronic for the artist, after years working in more traditional composition settings and playing in an indie-pop band, a way to honour and celebrate his heritage as an African Nova Scotian (Tynes was his grandmother’s maiden name).

The eight tracks comprising his self-titled debut have been meticulously stitched together over the past four years, in between Hillsburn records and theatrical sound designs, drawing on influences both acutely contemporary and rooted deep in the past. He composed, produced, and performed every note on the record—save the single two words that appear (“love me”), sampled from the voice of his bandmate and partner, Rosanna Burrill.

One of Halifax’s go-to saxophone players, Jackson pulls out the horn on a number of tracks on TYNES: He builds an intensifying beat over its root on “Callus” and lays out a two-minute solo on the album closer “Ellie & Riley (Love Me).” Jazz is one of the multiple genres represented here, blending seamlessly into the deep hip hop grooves and indie electronica melodies reminiscent of artists like Flying Lotus and Kaytranada. It’s music to contemplate your life to, while also having a good time.

“Groove and danceability, dynamic range—they’re all super important to me,” he says. “Having heavy moments, but also being able to drop the drums out and add a pad and see what happens. It’s a little more dramatic than your average instrumental hip hop.”

TYNES plays like the soundtrack to a midsummer party, or perhaps something a bit darker—an impending breakup, a slow-mo walk to confrontation, a reunion long time coming. It’s cinematic in its ambitions—Jackson wants you to feel your feelings, whether pulled down by a slow synth (“Kestis”), or pushed ahead by a propulsive beat (“Makar”). Inspired by the space and intensity of Bon Iver songs, the artist leaves plenty of room for your own thoughts and impressions. He lets the music breathe, and then build, and then burst back to life.