When Chrome Canyon's first album appeared in 2012, the movie Drive had just come out and there was still something novel about making music that faithfully emulated '80s synth soundtracks and Jean-Michel Jarre records. Synthwave crystallized into a growing underground phenomenon around this time, and only continued to rise throughout the decade. A decade later, after the artist also known as Morgan Z moved to California and scored several seasons of the animated series Infinity Train, Chrome Canyon returned with Director, an album meant as a soundtrack for whatever the listener is doing at the time. "Broken Theme" accompanies the would-be rolling of opening credits with woozy, flickering synth melodies, and "Black Dawn" is a more suspenseful, drawn-out piece with subtle pitch-bending that makes it sound like it's being played from an old videocassette. The shuffling midtempo drums on "A Knife's Edge" shift the sonic palette a little closer to the sound of Hollywood action soundtracks since the late '90s, but that's about as modern-sounding as the album gets, although a few glitches bleed into the Carpenter/Moroder-esque "Synthetic Dopamine." Pointing to some classical influences, "Looking Back Is Blinding" is built on hypnotic, minimalist organ patterns, and "Flatworld" features some choral vocals buried underneath its sparkling synths. The entrancing "Coldshift" gradually amplifies its kick drum and adds guitar-like lead melodies, but otherwise sustains a breathtaking moment for 11 minutes. Much less intense are the two brief, vaporous ambient pieces that wrap up the album. While Chrome Canyon's debut Elemental Themes was a thrilling album that occasionally felt gimmicky, Director is a more refined, mature work that ultimately feels more rewarding.