MY KZ, UR BF has fantastic lyricism juxtaposing sitcom-like lifestyles with the horrors of the Iraq War — this contrast then serves as a pretty witty critique of the USA. It’s also a fantastically composed and performed cut that opens the record greatly with its very catchy energy, and many admirable arrangements.

Low 9.

Qwerty Finger is a fantastic exploration of how a future civilization might only have our keyboards as evidence of our existence; also boasting an incredibly fun and mind-blowing instrumental. Brimming with vitality, genius structure, and great guitar work —on both tone and arrangements— this track never disappoints. The lyrics seem to address the fleeting nature of everyday life, in order to urge the listener to live in the present moment. Immaculate.

10.

Schoolin’ is another uptempo treat with deep meaning. The incredible compositions have great cohesion with lyrics critiquing the education system and intelligence standards. It’s also worth mentioning that this cut has an absolutely admirable structure — with the stark change midway being highly enjoyable.

Low 9.

Leave the Engine Room is a fine, calmer track — even if it’s slightly throwaway, one might even argue that that gives the record good flow. Lyrically though, it falls into some pitfalls of white guilt; although it remains somewhat enjoyable with its message of what repercussions our actions have on future generations.

Low 6.

Final Form is fantastic… once again. This absolutely immersive and powerful track has lyrics that seem to explore the tiredness and desperation inherent to having a human body and mind— with some nice dystopian overtones and nuances.

Low 9.

Photoshop Handsome is a fabulous critique of superficiality and falsity; especially, how these are represented in the modern age. Instrumentally, it’s another great song with a very memorable hook and an overall vigour in its arrangements and production.

Mid-High 8.

Two for Nero is definitely not the most conventional of listens. It seems kind of demo-ish and unfinished in terms of production, but there’s something about this that makes it inexplicably charming and even adds to the track. Lyrically, it’s a very personal song for Jonathan Higgs — where he looks back melancholically at a time when he was closer to a friend of his.

High 8.

Suffragette Suffragette is kind of cliché with the booming post-chorus guitars, but the rest of the instrumental is still really unique and enveloping. Lyrically, it’s a feminist song, but it’s not very decipherable. Additionally, it really does sound like “who’s gonna sit on your face”, which does —rather comically— hurt the already convoluted message of the song. Otherwise, it shouldn’t go without saying that the cut has wonderful and energetic arrangements and performances.

Mid 7.

Come Alive Diana is incredibly fun, and it has a fantastic hook. The lyrics are kind of all over the place though. It seems to want to paint a picture of a vice-led world while trying to include the death of Princess Diana. They are still evocative… just a bit head-scratch-inducing.

Mid-High 8.

NASA Is on Your Side paints an incredibly idiosyncratic and interesting dystopian picture of a future where we use the vitality of teenagers as fuel. It also explores the darker side of how this energy and intensity found in youth can lead to horrible events like school shootings. Instrumentally, it’s a very immersive and calm track with great cohesion between the bass tone/arrangement and the rest of the performances. However, it’s not as endearingly over-the-top or evocative as other tracks, and the lyrics can sometimes be a tad tell-don’t-show.

High 7.

Tin (The Manhole) is an enveloping calmer pace song. It very evocatively explores the feeling of angst in the face of mankind’s progress and machinery; doing so from the perspective of a fox killed on the road. Despite lacking the power of other cuts, this one is one that doesn’t disappoint in its more laid-back disposition.

Low 8.

Weights acts as a silver lining that integrates the uncertainty of the world and attempts to draw hope from that integration. There is an elusive failure to integrate it, however, which gives the track a lot of merit and nuance. The ending tag is fantastically energetic and expressive — and it’s an allegory for the previously mentioned failure due to its unpredictable melody. It really does close this record magnificently.

Low 9.