Forest Bayer’s compositions seem not to be intended for amusement or to accompany a film or TV scene. Rather, they lean toward serious music, a la “musique concrete,” to challenge (not cater to) the listener. We only wish the results, while intriguing at times, were more satisfying. On “Good Times” the composer acts as a sound engineer, playfully raising and lowering the levels of his instruments. “Awkward Daze” is a complex, disjointed piece that deploys thudding, stabbing sounds. We can imagine “Good Vibes,” with its skittering electronic flourishes, working well in an adventure video game. However, in a world that expects innovation from electronic music, Bayer’s sounds and textures are all too familiar.