Since I Left You is a pristine introduction to the album’s joyous and inspiring feel, done so in a smile-inducing and even self-aware way with the “welcome to paradise” sample. This is wonderfully achieved by combining endearingly lush piano and brushed percussion performances. Moreover, additional elements are slowly introduced in the form of playful synths, bright bells, and uplifting sections of strings and woodwinds. All in all, it’s absolutely moving in the most mind-bending of ways.

Mid 9.

Stay Another Season goes in a direction that’s a bit darker. There is still a fascinating groove adorned with piano arpeggios and some comedically placed horse neighing, which is quite a funny, almost snare-like, rhythmic inclusion that lightens the track’s mood. Ultimately, however, the lush feel of the last cut is traded for intrigue while nonetheless acting as an admirable continuation to the opener, showcasing the first of a myriad of smooth transitions that make up the album.

High 8.

Radio boasts quite a frank, straightforward, and direct beat, with a prominent bass drum to set the foundation for a powerful groove. To further this, the lively bass sample, along with the repetitive vocals, powerfully consolidate a mood that’s simple—in a danceable way. The additional production elements, like the high-pitched and bird-like chops, make the cut all the more catchy. Namely, the samples employed for the hook, hypnotically repeating the line “sometimes you don’t understand,” beautifully wrap up everything said into an unequivocally memorable moment within the tracklist.

High 8.

Two Hearts in 3/4 Time switches into a smooth and calming soundscape, but only after an introduction showcasing absolutely insane abilities in sampling—with truly mind-blowing, disjointed audio manipulation. This powerful contrasts with the subsequent submersion into a jazzy, intimate, and whimsical world made up of a complex combination of synth slides, synth brass, charming ‘lalala’ vocals, and other miscellaneous tones that are bright and exciting. Additionally, the bass and drums become delectably dynamic and evocative towards the end before heading into the next track.

Mid-High 8.

Avalanche Rock is a short interlude with a nice set of tremolo guitars, hip-hop percussion, and rapped vocals—courtesy of Raekwon. It wonderfully expands on the energy towards the end of the last track before bleeding into the next cut.

Mid-High 9.

Flight Tonight features interestingly unique melodies from the “she wicked” sample. These, in turn, go together quite playfully with the synth work that’s reminiscent of sound design for a UFO. Moreover, the boomy percussion samples complement the intricate bass line that is somehow perfectly clear among all the madness. Personally, however, the rap verse on the second half of the cut feels like a diversion in direction, as it feels jagged tempo-wise and not all that sonically fitting.

Low-Mid 7.

Close to You has a more low-profile intro with wah guitars, chirp-like synths, and piano. This powerfully turns around by virtue of an energetic organ riff, one that combines bombastically with the change in beat, a number of woodwind and brass instruments, and miscellaneous vocal layering. Towards the end, the track returns to a more collage-like amalgamation of upbeat and happy samples, similar—at least stylistically—to the introduction. This isn’t as evocative as the middle section of the cut, personally.

High 8.

Diners Only is a shorter track, acting as an endearing extension of the last one. It features an enjoyable call-and-response between sampled trumpet and flute, as well as the jazzy piano chords from “Close to You”.

Low-Mid 8.

A Different Feeling delivers an uplifting and danceable groove made up of syncopated shaken percussion samples, a prominent bass riff, and orchestra-hit-like guitars. Atop this lies a wonderful high end made up of shiny cymbals, laser synths, sparkly keyboards, and idiosyncratic synth strings. Once again, this is a cut that changes direction for the second half. This new part employs a beautiful sample of strings looped along with a fast, rising and falling piano arpeggio. This more ballad-like feel remains energetic because of the rhythm section carrying over from earlier.

Low-Mid 9.

Electricity turns up the energy to invigorating levels. The combination of the funky bass tone and intricate bass line with the set of atmospheric vocals creates an incomparable marriage between melancholy and vitality. This cut is one of the tracklist’s most efficient showcases of the required ability for making an album like this. Namely, due to the jaw-dropping success of creating elements like these vocals that are effect-adorned in a way that leaves them with a palpably otherworldly nature, as well as this tight of a groove. Ultimately, still being able to brilliantly consolidate it into such a congruent and moving song.

High 9.

Tonight is simply fascinating. The ethereal audio manipulation of the wholly charming piano sample accentuates the tear-inducing harmony wondrously. Moreover, the velvety vocal recordings layered on top add unprecedented atmosphere and allure.

Mid-High 9.

Pablo’s Cruise is another brief palette cleanser with a more field-recording aesthetic. That is, recordings of eerie and distant ships, adorned with piano sample chops and record static.

Nice interlude.

Frontier Psychiatrist is a comedic amalgamation of various spoken word samples speaking of craziness. This comedic soundscape is legitimised by the return of the signature horse-neighing sample. However, this is most definitely not all, as it’s more accurately a larger-than-life composition pristinely employing the fantastic choir and brass samples. What’s more, there is an admirable and truly entertaining interaction between the samples’ dialogue, done so in a playful, albeit also grand, manner. The skit-like “parrot” and “record” parts toward the end are additional highlights—massive ones at that, due to the perfectly realised, more script-like approach accentuated by mind-bending turntablism.

10.

ETOH more directly references Robbie Chater’s previous struggles with alcohol, as “EtOH” stands for ethyl alcohol. Instrumentally, this track might be the most hypnotic achievement of the record; an absolutely entrancing, meditative, and lush combination of birdsong-like vocal manipulation, calming nylon guitars, and heart-warming percussion—all applaudably brought together with ethereally applied delay effects. The extraordinary chemistry between these elements makes for an absolutely superb showcase of intimacy and introspective danceability.

High 9.

Summer Crane is a bit of a continuation of the last cut, but it introduces sets of inspiring strings, operatic vocals, and new basslines. This is only the beginning, however, as it gradually turns into a bright experience of a myriad of ideas coming together in harmony, such as soothing acoustic guitars, accompanying hummed vocals, and decorative cymbal swells; among many others.

Low 8.

Little Journey is another short track that begins with classical strings being employed in a beautiful transition, before building up to a more collage-like approach. One that uses sample chopping and purposefully noticeable loops, giving the feel of both a party and a scratched record.

Low 8.

Live at Dominoes is probably the most dance-inspired song on the tracklist. The starting robotic vocals provide a gloriously high-energy mood, accompanied by a number of different drum breaks, synth lines and processed vocals. However, this initial strength slowly dies off and becomes slightly long-winded, due to a notable lack in structure—though the sample work is still admirable.

Low-Mid 8.

Extra Kings: here, the take on the plunderphonics genre becomes one of old songs becoming slowly distorted and contorted. This aesthetic of audio corruption is interesting, and holds merit in its likely narrative qualities. However, it’s a concept that can’t fully hold its own, audibly, and thusly undoes the immersion somewhat, at least in the first half of the cut. The second half of the song is a comparably low-profile revisiting of the aesthetics explored previously. All in all, this ends the album on a weird note, but it mostly maintains the intrigue the record so masterfully crafts.

Mid 7.