In the Flowers is a fantastically atmospheric piece dedicated to a loved one, separated by a long distance from our melancholic narrator. Instrumentally, we’re delectably treated to a truly immaculate and euphoric psychedelic chorus with slightly unmemorable and comparably less exciting verses surrounding it.

High 8.

My Girls is another incredibly evocative psychedelic cut with a wonderful hook. Lyrically, this track is an extremely wholesome one, with the overarching topic of family values —  where Panda Bear wishes nothing but safety for *his girls* (his spouse and daughter). Moreover, the satisfyingly shoutable vocal performances and rain-like triplet synthesiser compositions are highlights within this energetic and hypnotic cut.

Mid-High 9.

Also Frightened is another wholesome and fatherly track detailing the fears associated with being a parent — as well as the constant, dreadful, although hopeful uncertainty of the future. Instrumentally, similar to others on the album, this is a track with a rather large buildup that eventually realises in an enveloping and quite awe-inspiring musical passage; which also acts as a memorable and powerful hook. This is due to the beautifully layered vocals singing highly catchy and emotive melodies.

High 8.

Summertime Clothes strikes a delicious balance between its significantly entrancing synth arrangements and its up-tempo, energetic qualities. It’s a fantastic, wet-sounding, summertime-driven, immersively psychedelic love song. Moreover, in the lyrical department, it’s an expressive and endearingly moving composition of two lovers “meander[ing] at an easy pace” at night as an act of (almost-tear-inducing) escapism.

Mid-High 9.

Daily Routine is, once again, an incredibly produced track, brimming with novel usage of synthesisers. These lyrics feel like a continuation of the fatherly-instinct-inspired fears and difficulties — from the dread faced in everyday activities (like taking a kid to school) to the heaviness of having to get up every day. The structure of the track reflects this beautifully, as lethargy is slowly built up into a stark change midway into the track. However, this structural decision leaves the cut feeling slightly long-winded.

High 8.

Bluish is a grandiosely endearing moment between two loving partners. Also, the production is still consistently awe-inspiring — with fantastic synths and creative sound design throughout. Additionally, the vocal performance in the chorus is also a beautifully noteworthy element of the cut. Lyrically, the line “I’m getting crushed out on the things that only I should see […] they’re just for me” has an underlying possessive jealousy and angst that I don’t particularly like. However, this might be the only moment that distracts from an otherwise fully charming moment of sexual connection.

Low-Mid 9.

Guys Eyes keeps the auditory strengths of previous tracks, with the delightfully overlapping vocal performances being a special highlight of this track. The lyrics, however, tackle the attraction to other people who aren’t your partner in a slightly boring and uninspired manner. Especially considering how the rest of the lyrics are so wholesome and family-oriented. It’s not a poor choice of topic per se; my main complaint has more to do with the humdrum approach, as well as how it doesn’t fit all that much with the rest of the record.

Mid 9.

Taste is a very introspective thought piece and query into the nature of taste. It asks whether humans can be reduced to what and how we like things, fundamentally being “all that’s outside of [ourselves]”. However, the lyrics are somewhat inconclusive and don’t go much beyond just being an interesting question without any formal statement. Having said this, the instrumental is quite enjoyable with its simple vocal melodies, a high-spirited bass line, and nicely fitting rim-click drum arrangements.

Mid 8.

Lion in a Coma comes from the relatable place of being in an overwhelmed headspace — afflicted with ourselves, others and even our past; wishing for escapism while feeling trapped in a loop and inside *a coma*. Instrumentally, the whole cut is quite an enveloping, meditative, and hypnotic set of sections boasting a compelling contrast — as well as consistently delightful melodies. Moreover, the short hook that the track concludes with is one of the most euphoric, pleasantly repetitive and simultaneously soothing breakdowns of the record.

Low 9.

No More Runnin seems to be a continuation and response to the hardships presented in the past track. It’s a calmer and slightly drawn-out cut with intimate vocal performances and pleasurably surrounding sonics. The stance it takes is one of acceptance, where a lack of running represents a mature understanding and willingness to stop fighting that which is inevitable — as well as loving all “[you’ve] hoped for”. Despite my enjoyment of the lyrics, I can’t help but notice the glaring difference in quality between other tracks’ instrumentals and this more low-profile approach; which is just not my personal favourite.

Low-Mid 7.

Brother Sport is a homonym for ”brother support”, and it sees Panda Bear giving words of encouragement to his younger brother “Matt”; doing so quite hypnotically, and almost in the cadence of a recurring hymn or mantra. Instrumentally, it’s a truly wonderful and psychedelic —albeit slightly leisurely delivered— descent into another beautifully immersive and energetic extended chorus.

High 8.