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As bass player for Vampire Weekend, Chris Baio doesn't skimp on infectious grooves on his synth pop solo project, Baio. That was true of his 2015 debut The Names, and it stands on his 2017 follow-up, Man of the World. The latter does come with added doses of anxiety and apprehension, though. Having moved to London, England and spent much of 2016 on tour in North America and Europe, the New York native took in events including Brexit and the U.S. presidential elections with the multiple perspectives of a transient expat. While the album's lyrics are as often about relationship fears as world view, a song like "Shame in My Name" reacts to these political outcomes with more than a vague existential angst: "I know I'm deeply privileged to be losing just my mind/I'm fearful for the bodies of the vulnerable and kind." Frustration and self-consciousness are also evident on "Dangeroue Anamal," a reference to climate change deniers in which Baio admits "I still eat meat and I still fly." He's more facetious on the jaunty "Sensitive Guy" ("even my tears cry"), and "Philosophy!" intertwines sociopolitical woes with an anticipated breakup. His worries may be reflected in the album's relationships, but they don't impede catchy rhythms that permeate not only the rhythm section but vocal lines throughout. On "Vin Mariani," for instance, the singer's Martin Fry-evoking inflection syncopates over churning synths and drums that drop out in the choruses. The hyper "The Key Is Under the Mat" also plays with time and patterns, layering elongated phrasing over double-time rhythms. On the whole, despite its anxious state, Man of the World's danceable, sparkling textures and idiosyncratic melodies make for a satisfying summery treat.