Review Summary: This album is incredible with a few minor flaws on 'It's Alright', and 'Pad Thai' being a bit of a dud. Even with these flaws, everything else is executed with such precision that is expected with a Jack Stauber record, and with the style long associated
This album shows Jack's talent on full display, unlike what was shown in Viator, Finite Form, or even PopFood (Even though that album is incredible as well). Jack Stauber utilizes multiple layers of synths without creating too much clutter; everything has its place and nothing seems to stick out in ways not intended. Jack was meticulous in the design and of the execution of each song, showing everything that needs to be shown while keeping it intriguing and catchy enough for further listens.
The album starts strong with Cunk, a song that has weird and unorganized synths that order themselves rather quickly, similar to an orchestra in how the conductor allows for his players to practice whatever they desire, then getting everyone on the same page for a concert F. The song is catchy and Jack's David Byrne-like vocals introduce themselves right off the bat, I could explain it and it'd sound strange, or you could just listen to it yourself and understand.
The song ends and gets into another amazing fast tempo song, my favorite song on the album, Dead Weight. This song has bright synths that pierce through the fabric of this particular song and create something interesting while Jack continues to sing in his eccentric manner.
The album takes a turn to the calmer side with Coconut Ranger, a slow, but beautiful ballad, with an incredibly simple bridge that goes into a more punchy, but still slow, melody, and it seems to loop in and out of these two ideas while still being part of one big central one. He also tends to do vocal mixing which creates great harmonies and pretty chords.
Then the next song, Leopard, is full of life and funk that makes it very satisfying to sing to, then it goes into a jazz part, highlighting Jack's vocal ability in a more traditional setting. The electric guitar bridge is very effective in changing to the many different styles and moods of this song.
The album continues its funk founded in Leopard, into John & Nancy, a song with so much character and melodies that can take you back to the 70s while still keeping the consistent style shown on the other songs.
Beird is up next with an intensely vocal part, showcasing more of Jack's David Byrne side, and a chorus that'll stick and stay in your head with the synth parts create a perfect backing to tie this whole presentation together in a perfect knot of its charismatic presentation.
It's Alright is a song that seems to weave the album back into a lighter side with maybe a couple mixing problems with Jack's voice being too quiet at the beginning to be probably heard and the chromatic synths, which would've been a lot better if they were a little quieter, the interludes are pretty and it's not a bad song, it's good, just not as good as the others so far in mixing. It could've been a lot better and maybe one of my favorite ballads if the mixing was tweaked a little further.
Next up is Small World, and it is quite incredible with what it does with its transitions which are satisfying and are not too offputting to really put a dent in the song. The hook is catchy with a really cool saxophone part that comes up in between the hook and the chorus, so it's a very solid and well-crafted song.
Pad Thai is another fast-paced song that has a very weird screaming-ish part at some parts is jarring, and it takes away from the song. The chorus is forgettable, but the synths and electrics seem to be pulling their weights through the more calming half of the song. This is probably my least favorite song in the album.
Next is Gettin' My Mom On, which brings back the funky melodies and synth parts from Leopard, it's very catchy and pleasant to listen to when you're working, and the instrumental solos are very well done and well executed, and show off Jack's musical abilities further.
The bass parts in Databend are simple but interesting while simultaneously being on the forefront. The Bass is very well done while the vocals aren't interesting like most of the other songs, they're almost monotone which is weird for Jack, with one exception halfway through. The chorus isn't anything special, but the bass makes up for these faults. It isn't my top 5 songs on this record but is interesting enough to warrant a few listens.
O.U.R is next with Jack's out of this world vocals on full display, more than any other song on this record, with these LoFi synth harmonies making it perfect to zone out to. The lyrics are dark, so it's not as light-hearted as most of the songs here, but it's effective in everything it wants to do, so not my favorite, but still very solid, overall, just it seems to not go any further.
Finally, we have Pizza Boy, a final ballad that seems to be a "good-bye" for this album's listeners. I wasn't the biggest fan of this song at first, but the more I listen and pick up the genius harmonic layers that Jack has sprinkled throughout this song, the more I've started appreciating this song for the amazing track it truly is. You feel a sensation throughout of weightlessness, like your floating in a vacuum, making this my obvious favorite ballad in the album, its story with me is similar to Candy Eyes in PopFood, definitely ended strong on this very strong album.