The comma of a warm, undulating chord wash, the semi-colon of a synthesized energy pulse; there are no full stops or harsh question marks imposed by the Balearic bounty of Midtown 120 Blues. I’d imagine that Sprinkles (a.k.a. ambient mastermind/raconteur Terre Thaemlitz) would see anything more than an ellipsis as vulgar within house music. And it’s within that open-ended territory that Midtown’s beauty lies. Where house went wrong, Thaemlitz seems to say, is in filling speakers with activity rather than possibilities. A track like “House Music is Controllable Desire You Can Own” is the kind of song that reminds us that house music subtly changed the world.