A very neat, nifty, and interesting work. Creativity is abundant in the way that the active synthetic texture combines with the tiny melodic loops to create 12 groovy, trance-like tunes. The timbre was quite fluid, going through periods of brightness and pace with pleasing synths to holding a steady, calming groove with the sweet bass and undecorated drum machine. While being surprising and well balanced in that sense, the timbre also provided the stability and surface level interest that the work needed. The synthetic sonic bombardment was quite delightful, as it relied on strong growth of seemingly ordinary ideas through slow manipulations and subtle additions to the background that continued to fully emphasize the mood, such as the added percussion or saxophone. The songs “Hammer” and “Who Are You” are good examples. The sound sometimes got a little too big and lost a bit of subtlety within the clutter of loud, attention-grabbing sounds, like in the opening song “Heart Attack”. That wasn’t a huge negative, though, as there was still strong direction and engagement. The true highlight of the work is the basslines. These basslines are really what bring the listener through the core of each song and provide the most consistent identity and interest. These songs each have the same neat structure; fun and driving bassline, easy beat, quirky synth tones, engaging vocal loop, and emphatic sonic development. The songs are all quite successful in their own way. However, this could have created something much more meaningful and amazing than it did. Know that I ultimately consider this album a real success and I fully recommend it, but there’s one glaring problem I see in it that stops me from calling it “great”. While the musical structures are neat, no layers or ideas really combined with each other well. This work is essentially an assortment of creative, unique ideas that didn’t necessarily have a care for what the rest of the music was doing. Now, that’s not always a negative in music. If the moods, directions, or techniques aren’t made to be clear, then it can actually be very compelling to have disconnected layers. However, this album has lots of clarity to it, being dominated by an energetic, beat-driven timbre that sets up its own obvious intentions. With that, it kind of runs away from any harmonic foundations or melodic kernels that come about. The same goes for the melodies, as they had a nice interesting shape and organization within themselves, but it rarely combined at all with any background movement, as evident in the song “Colonizer”. This left the harmony to simply chug along with its interesting bassline and progression but serve no greater purpose. This was close to greatness, but the gears couldn’t quite lock in. However, this is truly worth a listen, especially the second half of the album when timbral combinations hit their stride to become consistently fascinating. It’s creative above all else, which makes it an important experience for multiple reasons.