He sings with the delusions of a fresh L.A. In “Taking on Hollywood,” Temple croons through a vocoder while Tron arpeggios and plastic clicks scurry beneath. The brooding duo of “Taking on Hollywood” and “The Physical Life of Marilyn” exemplify the latter genre, sending Temple’s alias stalking the ghosts of Sunset Strip. Across the album’s tidy 45 minutes, Temple presents himself as an Auto-Tune balladeer, Afrobeat enthusiast, and skilled craftsman of moody synth pop. If Temple’s prior release as Feynman-2017’s Blast Off Through the Wicker-marked his most consistent work, Half Price at 3:30 straddles a taut line between cohesion and the urge to flaunt a few styles.

He parcels his reflections into subtle but unexpected pop songs that bridge contemporary production with compositional nods to Paul Simon, Arthur Russell, and Harry Nilsson.

On Half Price at 3:30-Temple’s second album as Feynman-the narrator roams around at a safe distance from secondary characters. His peculiar character looks as though he’s tumbled through a number of decades to wander ours as an observant stranger. As Feynman, Temple seems to detach slightly from reality, resulting in music that’s more impish than his prior solo work or his output with Here We Go Magic. The reality is not quite as silly: Feynman is Luke Temple’s oddball alter ego (the ponytail, alas, is a wig). Who the hell is Art Feynman? Judging by his babushka, bucket hat, side pony, and sherbet-colored clothing, he might be a psychedelic bee keeper-or maybe a stoned ceramicist with his own public access TV show.

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