Opener "Romania Pike" bursts into full vocal mode after a mere 30 seconds of stuttering beats, with growling bass backing the sultry female vocal. There's more than a touch of '80s synth-pop about the track, both in the stark, Roland-ish drums and the florescent neon stabs that occasionally bully their way into proceedings. The title track could hardly be labelled "vocal," but there's barely a moment in which some twisted voice or another isn't raised to fore, momentarily distracting you from the powerful beats. This distraction becomes the aforementioned irritation when a piercing ghostly whine totally dominates the track—the kind of noise that will totally divide opinion.
"Morning Game" continues with the warbled vocal shenanigans; here, the protagonist starts clear and crisp but continuously batters their voice against cruel sheet-metal structures until they emerge at the end of the track raw, exposed and almost indecipherable. In all these tracks—except maybe the nice and groovy (and out of place as a result) digital-only collaboration with Kris Wadsworth—Jones seems to delight in stretching out phrases and loops a little longer than the listener finds entirely comfortable. This may make the first listen a little jarring. But they're growers and, more importantly, original, thought-provoking and bound to cause arguments.