Amerika immediately sets off with a narration of the immigrant narrator’s arrival to the USA. They express their illusioned perspective — something which is slowly going to become shattered as the album progresses. Instrumentally, this track is less energetic than others on the tracklist albeit in a very enjoyable way; honestly, this makes it a great opener for the record!

Mid 8.

Something to Believe In is sung from the perspective of the American dream itself, taunting the narrator with how their enthusiastic excitement is based on fake beliefs and facades. The “realize you’re a slave to your mind, break free” line also places the responsibility on the individuals as an attempt to hide systematic oppression. Instrumentally, this track features a strong hook, as well as overall tight and evocative performances. There might not be much that is memorable apart from the chorus, but this is not that huge of a setback — especially because of how it is accompanied by highly commendable production.

Low-High 8.

Elsewhere uses the loneliness that the narrator felt during a party in order to metaphorically explore how it is to feel like an outsider; especially (and thematically), due to an alienation based on immigrant status. This instrumental’s highlights are the vocal performance, the crisp-sounding groove and the mellow synthesiser-created soundscapes — all of which make for a danceable yet introspective track.

Low 8.

Mr. Know-it-All is the track that disappoints the most from a lyrical standpoint since it’s rather juvenile, but it still feels relevant as a retrospection of the narrator’s childhood times. The instrumental is also a bit weaker compared to the rest of the album; with a playfulness that occasionally rubs me in slightly the wrong way. However, the undeniable energy and general memorability of the cut cannot be denied.

Mid-High 7.

Jungle Youth: Lyrically, the song seems to be about how the narrator’s *youth* felt directionless like a *jungle*, also continuing with undertones of the immigrant experience. Instrumentally, this cut features enjoyable chemistry between the drum, guitar, and bass arrangements but remains somewhat throwaway due to it being compositionally humdrum (in comparison to other tracks on the record).

Low 7.

Titus Was Born uses the metaphor of a constant and tumultuous storm that falls on our protagonist called *Titus* in order to add to the narrative and recurring theme of affliction and adversity. An aspect that is instrumentally worthy of remark is the applaudable structure this track has. From the pizzicato instrumentation at the beginning to the danceable and energetic second half, this song is a truly well-put-together journey — and simply great.

Mid-High 8.

Repeat deals with monotony and the feeling of being “caught in the motion”. It’s generally quite an emotive track; one which is complemented by greatly composed and performed arrangements. As a whole, the compositional devices used are simple yet highly effective and enveloping: from the synths pads to the layered vocals on the post-chorus.

Mid 8.

Silvertongue is also from the perspective of the United State’s ideals; it expresses how effective a facade is created by the USA’s misleading *silver tongue*. Instrumentally, the beautifully clean production, dynamic composition and tight performances make this track a greatly groove-delivering and highly enjoyable high-energy highlight.

Mid-High 8.

Art Exhibit: The *art exhibit* in question is both a metaphor for the facade previously explored and for past memories, in which the narrator still felt starry-eyed for their future. The “genius of pain” line probably refers to how the narrator had to live through the disillusionment in order to eventually see through the deception. This calmer and more introspective track features aesthetically pleasing instrumentation that complements the emotive sigh that the lyrics are. Additionally, Sameer Gadhia’s vocals are at one of their strongest and most heartfelt points of the album.

Mid 8.

Nothing’s Over takes the despondent emotional states explored previously on the record and culminates them in an angry retort towards the USA and its systems. This more filter-less anger nicely sets up the next song in what could be seen as a moment of self-sufficiency and maturity. This cut is another strongly memorable track with a specially enjoyable bass line and tone. The choruses that are repeated throughout and the instrumental breaks that separate them are also quite gratifying in their immersive structure and overall sonority.

Mid-High 8.

Home of the Strange changes “land of the free, home of the brave” for “land of the free, home of the strange” as a play on the USA’s motto in order to affirm the alienation someone like the narrator feels in the face of a hindering social structure. Moreover, doing so in a positive-note-ending moment of self-empowerment. Instrumentally, the fast-paced and energetic drum arrangement is a highlight within an already lively and strong cut. Additionally, the hearty vocal performance and melodies are also worth noting in this explosive closer.

Mid 8.