"Boy Love Girl Song" seems to be an (un)intentional dramatization of Tobar's fledgling career—it's like listening to a cute little animal finding its feet for the first time. It burbles and chirps and tinkers as light drums meander around. Then it grows up and those big chords familiar to fans of Fairmont or James Holden come in and everything turns decidedly sunny. "Computers," meanwhile, flits between M83-esque wondrous euphoria (minus the mawkish teenage sentimentality) whilst "Psprf Frame" is a mournful, intriguing cut-up rinse.
But it's "Voy a Buscar" that really knocks your teeth off. It begins like a Sigur Rós cast-off with a simple piano sequence that dramatically cuts to a wall of sound made up of distorted guitar, glitches, high pitched squeals, and something thrusting off from the ground. It's nowhere near as grueling as the likes of My Bloody Valentine, yet its relative politeness means "Voy" manages to be thrashing and euphoric without making your ears bleed. And for me, that's a good thing.