Kaitlyn Aurelia Smith’s most recent album, 2017’s The Kid, featured her vocals more prominently than ever before, running them through a chain of synthesizers to dazzling effect. Her song, “Yugoslavia”—part of a compilation celebrating the 10th anniversary of the music blog Stadiums & Shrines—drops her voice, instead focusing on the details that emerge from Smith’s Electrocomp 101 analog synthesizer. Over the course of this placid tribute to a country that no longer exists, Smith pushes the analog machine through a mesh of chirps and burbles, lending some insight into how she builds her compositions. “Yugoslavia” is electricity shaped carefully into chords and patterns: A gentle drone evolves into polyrhythms that evoke the image of power coursing through an array of circuits, and the tangibility of Smith’s favorite machine feels present as the percussive edges of the song fade away back into drone. “Yugoslavia” peels back a few of the curtains on Smith’s technical wizardry, letting the listener into her vibrant, playful creative headspace.