When I think of Justin Wright's Expo 70 project, I instantly think of two things: "improv" and "guitar."  That is something I probably need to cure myself of: while Beguiled Entropy certainly contains both of those elements, it so thoroughly transcends them in places that I completely forgot about Wright's chosen methods and tools.  This is an album of vision and focus that is far more evocative of nocturnal, neon-lit emptiness and menace than of a guy hunched over a battery of effects pedals.  In fact, this would have been the perfect soundtrack to Drive had Nicholas Winding Refn eschewed retro kitsch for stylized bleakness, paranoia, and retro-futurism.
This album was originally recorded sometime last year following a recording hiatus, which somehow did not prevent Justin from churning out 13 other releases (by my count) between 2011 and now.  This seems to be one of his rare "major releases" though, as most of the others were cassettes, CDrs, or collaborations.  And no one would have the temerity to release a substandard or lackluster album on totally bad-ass-looking orange and blue swirled vinyl (at least, I would hope not).
The recurring element that holds the entire album together is a brooding, but relatively static, synth drone.  That seems like such a simple idea, but it turns out to be remarkably effective here, imbuing the album with a thematic cohesion and allowing Wright plenty of space in which to languorously work.  More importantly, he manages to use that relatively unvarying backbone to create five pieces that sound markedly different from one another.
For example, "Mark of the Rising Mantis" often sounds like a broken robot throwing a tantrum, while parts of "Luminous Traveler" could probably be mistaken for an instrumental stretch on a classic Pink Floyd album (owing mostly to its restrained, delay-heavy riffing).  "Sunseekers (Out of Diminished Light)" continues that neo-prog theme, but plunges even deeper into space, largely ditching any sort of rock-based structure in favor of some trippy, psyched-out synth burbling and distorted, reverb-heavy guitar soloing.
In general, however, I would say that Wright is most compelling when his songs are a bit more rigidly constructed and (comparatively) propulsive.  The first hint of this appears on the fourth piece, "Backmasking Deeper than Darkness," which continues the faux-Floyd, space rockism of its two predecessors, but escalates in intensity to a throbbing, hissing crescendo.  Justin's drum machine makes an even more prominent and welcome appearance in the album's wonderful closer, "Pulsing Rings of Ice."  Again, a deceptively simple idea is employed to powerful effect, as the relentlessly thumping beat feels like a jolt of late-album adrenaline after so much drifting psychedelia.
It also highlights something important, as it is the album's best and most memorable piece, but Wright's playing is extremely subdued.  With a simple beat around to do most of the heavy lifting, all Justin needs to do to make a piece work is establish a consistent and appealing mood.  I am not advocating laziness or anything, but it definitely seems like adding a strong rhythmic component goes a lot further in making a song immediate and memorable than hazy, psychedelic guitar improvisations (however good they are).
My sole issue with Beguiled Entropy is that there is still too much guitar soloing for my taste, but that is a pretty goddamn subjective problem to have, given that Wright's whole aesthetic is based primarily upon guitar improv.  Still, it sometimes feels like he is merely meandering or filling space rather than going somewhere purposeful.  In all other respects, however, this is quite an evocative and impressive album.  I was especially struck by how coherent and intelligently sequenced it all is, as these five pieces clearly belong together and cohere into a satisfying dynamic arc.
The pacing also works extremely well, as the few parts that tend to drag a bit are not nearly as irksome when experienced in the context of the entire album.  For example, some of the earlier pieces seem to lean a bit too heavily upon guitar solos when heard on their own, but perform a valuable function in the larger scheme of things (allowing the ominous mood to simmer for a while before ratcheting up the intensity).  While I would love for Justin to expand his musical palette a bit more, Beguiled Entropy is a remarkably absorbing and composed-sounding album for an unrepentant improvisor armed with little more than a synth and a guitar.
 
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