Eluvium auteur Matthew Cooper has always been a classicist. Unlike his ambient-leaning peers Múm, Sigur Rós and the Album Leaf, Cooper demonstrates little interest in moody, cinematic epics or hazy psychedelia. Instead, his minimalist compositions rely on undulating melodies and watercolor washes of keyboards that recall Brian Eno’s trailblazing Another Green World. Eluvium’s first four albums differed subtly in tone and instrumentation, but his latest, Similes, represents a dramatic change, employing percussion and vocals for the first time. Cooper’s understated voice blends into the arrangements, its appearance as striking as a figure emerging from the shadows. Over the soft skitter of beats, Eluvium exchanges contemplative oceanic drift for dynamic structure and purpose.