Seattle-based duo ODESZA (Harrison Mills and Clayton Knight) and Australian producer Golden Features (Tom Stell) both blew up around the mid-2010s, particularly in their home countries, and both acts can loosely be described as futuristic electronic pop. Stylistically, however, the two occupy different territories, with ODESZA being masters of dreamy, nostalgic post-chillwave, and Golden Features making dark, Ed Banger-inspired club tracks with indie tendencies. The three musicians met at a music festival in Australia, eventually setting aside time to work together, with no expectations, when ODESZA returned to the island during their 2018 tour. The resulting project, BRONSON, is perhaps closer to Golden Features, but even darker and more epic, and certainly less pop-minded than either act's most accessible material. Drawing from progressive house and electro with flashes of synth-wave drama, BRONSON's debut album is filled with tense, steadily building tracks which aren't afraid to venture into unfamiliar directions. ODESZA's signature vocal cut-ups are used sparingly, and even when they're more prominent on tracks like "Bline," they're less chirpy and ecstatic than usual for the duo. A few guest vocalists make appearances, starting with Ultraísta's lau.ra pining for "a little bit of lightning" during the Jon Hopkins-esque "Heart Attack," and Gallant fretting over lost sleep atop the knocking garage shuffle of "Know Me." "Vaults" and the nearly industrial "Tense" are aggressive and riddled with distortion, while "Keep Moving" is the album's most unabashed banger. The grand finale is "Dawn," which features Totally Enormous Extinct Dinosaurs cooing encouraging "don't give up" messages before a flurry of trance synths kick in. A diversion from what fans of ODESZA and Golden Features might expect, BRONSON's adventurous debut is sublimely crafted and often thrilling.