Crunch and screech. All materials derive from these fundamental elements in Frielworld, also known, Thrill Jockey tells us, as “a computer purchased in 2001 running OS9, perched on a three- legged desk” somewhere in Brooklyn. Friel plainly has a gift for spiraling, happy melodies, but also loves bombastically thudding bass beats and impenetrable sheets of squelching scuzz. His strenuous efforts to sync these impulses yield a lot of jumbled messes, but also a keeper or two: “Thumper” beeps blissfully, helped, not hindered, by the surrounding racket. But when every tune stomps like a parading choir of frantic robots (especially “Scavengers”), the result is monotony, not ecstasy. With a little more restraint and sonic economy, Friel could yet win my heart.