The game of Jenga balances drama and responsibility: one wrong move could end everything, but every right move makes each piece more important. Imagine a safe game of Jenga, and you have ROLROLROL’s debut.

Is there enough of this sort of music around to gingerly call it a genre? The writer Nate Chinen coined the term ‘viral jazz’ in 2022, and it’s one Music aligns with, sitting somewhere between synth-pop, funk and jazz, with lots of electronic production (gut-punch snares, a huge synth library), Todd Edwards-esque collages and some decorative jazz chops, all arranged to sound claustrophobically close, or nodding towards a J Dilla looseness that still somehow manages to sound uptight.

Music is ‘puttylike’ they say, and one strength of the past decade of internet plasticity, or even the freewheeling, anti-earnest sounds of DoMi & JD Beck – is when it unlocks imaginative streaks as its creators bounce off the banal.

ROLROLROL certainly do that, but most of the interesting stuff comes through their regular assertion of just how good they are at production – ’MVP’ and ‘Shark Week’ sound a bit like elevator pitches for the group.

I’m more drawn to their translucent tunes like ‘Gondolier’, which strays into gentle sound art, or ‘Time’, where the only thing missing is some crooning from a James Blake-type. When vocals come – Jamie Woon, on ‘Surprise’ – his only word is the title; such a shame after a promising piano riff opening. As the track layers up, you imagine that Jenga game again, with an interesting base and lots of potential for risk, but with blocks that stack largely without consequence.