Born Under Punches (The Heat Goes On) is a very dynamic and multi-perspective exploration of the asphyxiating effects of government oppression. More specifically, these themes are delved into within the context of the Watergate scandal and its public aftermath. Instrumentally, this track is an absolutely fantastic, quirky, and moving composition performed to the highest of quality and energy, especially in the second half of the cut. Moreover, the vocal melodies are wonderfully arranged and harmonised, and the highly smile-inducing, unconventional guitar solo adds all the more merit to the song.

Low-Mid 9.

Crosseyed and Painless is —lyrically— a very busy and contradictory song, which is quite fitting for the topics of overthinking explored, as well as the attempt to forcefully change one’s character. “Facts” are mentioned recurringly, seemingly to evidence the disparity between them, emotions, and how both are perceived; procedurally blurring this line, and beautifully so. This cut is another that boasts masterful guitar arrangements and bass lines that come together for a speedily fun experience despite their dissimilarities. On top of this, the layered vocal performances are wonderfully intoxicating and immersive once again.

High 8.

The Great Curve: This track presents a female deity-like protagonist that embodies the passion and vitality of humanity, in turn battling the meaninglessness caused by the modern world, as she’s “moving to define”. There are, however, allusions to even this deity “moving by remote control”; possibly by the hands of the government introduced in the first cut, which paints a bleak picture of her being a dystopian, hand-made distractor. Audibly, the quick arrangement of bongo drums and the fast, strummy guitar accompaniment are both definitely highlights within this wonderful song. Additionally, the vocals here showcase some of the most intricately intertwined harmonisations of the record. However, it takes a bit of time to build up to this euphoria of hurried yet precise performances.

Mid-High 8.

Once in a Lifetime is the embodiment of an existential and/or mid-life crisis. It explores the mindlessness with which we traverse through life, juxtaposed by a sudden and all-encompassing moment of realisation and dread. The songwriting powerfully sells the horrific fear of what can happen without consciousness on our side. The water and ocean mentioned throughout the song could be a reference to the ‘flow’ we go with and a desolate, one-dimensional unity — all of us drops of water that form a sea of statistically predictable people. The overly peppy instrumentation does a genius job of contrasting with the lyricism; impressively, just one of many aspects of this track that are highly loveable. Others include the synth work, performances from every instrument, and the simply fun drum arrangements. More specifically, the synthesisers are used to create an admirable and slightly uncanny atmosphere.

Low-Mid 9.

Houses in Motion is another track that continues with themes of distress, one caused by trying to find a path and meaning in the modern capitalist world. The uncertainty is a constant in these lyrics, and its effects are so intense that they’re presented as dehumanising. Additionally, the writing style continues to be consistently contradictory, thus adding to the worry. This time around, the brass-and-woodwind-like synthesiser timbres and pluck-like compositions are rather fitting, and most definitely add to the uniqueness of the cut. The vocal melodies on the chorus are also worthy of mention — much like in every track! However, the verses are a bit less eventful in my opinion.

Mid-High 8.

Seen and Not Seen is an attractively allegorical take on the previously explored themes of identity. This time around, the subject of the song and (apparently) the rest of society base their appearance on traits shown in all sorts of media. It’s a great metaphor for how what we consume can shape us. Moreover, the final line proposes that maybe some identities are made in mistaken attempts to change aren’t fully carried out; or rather, rightfully they’re stopped, though maybe done so too late. Instrumentally, this cut is a genius and successful shot at an atmospheric, laid-back, and electronic approach; the synths being especially admirable elements of the cut. What’s more, Brian Eno’s contributions —three-fold for production, bass arrangement/performance, and synthesiser work— are noteworthy aspects of the instrumental as well. Overall, it’s another masterfully put-together track with more of a spoken-word approach that fits the foreboding ambience beautifully.

Low 9.

Listening Wind is an impressive, hard-hitting, and narrative critique of the United States’ colonialism. The song is from the perspective of Mojique, who lives in a place suffering from a US invasion and is eventually driven into committing a bombing to drive the colonisers away. This gorgeous cut is intimate, downhearted, and candidly performed.  Additionally, it boasts some of the best melodic compositions off of the record — which is a massive thing to be able to claim. All in all, this song is impressive in almost every right, however, sometimes the synth arrangements go rather overboard and distractingly get in the way of everything else.

Low-Mid 9.

The Overload analyses the disappointing nature of our struggles and advances as a species. Although what we have achieved thus far could be considered an impressive feat, it sometimes lacks fundamental merit and just remains as a façade of advancement and urbanisation — meanwhile, we go through “the removal of the insides” and a leisurely, “gentle collapsing”. Famously, this cut was made in the style of Joy Division, which influenced the sonics into a low-end-heavy, morose, and somewhat desolate direction. This slow-paced approach to the closing track delivers nicely, though —while still an enjoyable cut— it does slightly pale in comparison to the amazing eccentricities shown throughout the rest of the record.

Mid-High 7.

Every comment from now on will not affect scoring (comments regarding the deluxe version’s unfinished outtakes):

Fela’s Riff is quite an amusing and fast-paced guitar arrangement accompanied by playful percussion, a dynamic bass line, and staccato synthesisers.

Mid-High 5.

Unison is lyrically similar to “Once in a Lifetime”, at least in its use of water as a symbol. The instrumental is actually impressive and fun considering it’s an outtake.

Low-Mid 6.

Double Groove is another high-spirited instrumental with merry vocal performances using creative panning in the beginning.

Low 7.

Right Start is “Once in a Lifetime” as an initial idea — a nice experience to see how the process began.

Low 8.