Giant Claw turns the tempo up all the way. If hyperactivity could possibly be transformed into music it might sound like ‘Mutant Glamour’. Everything is so compressed. The level of intricate detail shoved into such small spaces is incredible. As an added bonus the songs possess an over-the-top faux-dramatic flavor to them. Self-awareness like this makes it even more enjoyable. Add this onto an already well-developed sense of pacing and timing and you have a fantastically fun album.
Right from the beginning of ‘Brain on Cream’ this could be an entire EP for an average band if they reduced the speed just a little bit. So many melodies are thrown around like an absolute madman. ‘Empire of Summer’ has rather intelligent, smart progressions which are nearly lost in the shuffle. There is a saxophone solo for absolutely no reason. ‘LA Christ’ is one of the most grandiose pieces on the whole album. Multiple movements keep it interesting along with some moments of pure abandon. The tempo here is slowed down in comparison to the rest of the album yet it continues to drive forward on some unknown reservoir of energy. What makes it the best piece on the album is how expansive it is in terms of scope: it explores every possible outcome of the groove, right down to the ending which feels like a triumphant march of sorts. ‘Trapped in the Mirror’ ends it with the longest piece which most directly refers progressive rock’s capacity for heaviness. Indeed halfway through the piece it settles into a nice stomp of a rhythm complete with utterly ridiculous melodic flourishes.
This is progressive rock as played by computers.