When reviewing Bayonne’s 2016 album Primitives, PopMatters described how “If Debussy and Phil Collins fell in love, Bayonne would be their baby. (That’s a good thing.)” The allusion remains apt. The Texan multi-instrumentalist has continually cited adult pop-rock luminaries such as Phil Collins and Enya, and that fascination with expansive, polished pop remains present on Bayonne’s fourth album, Filters. Yet Bayonne doesn’t simply recreate the sounds of the 1980s. He filters them — appropriately enough — through the loop-based production techniques of contemporary bedroom pop.
On Filters, as with much of Bayonne’s music, the dominant instrumental pairing is a resonating piano accompanied by vibraphone. The piano…

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