The first five tracks go straight to the point: “Awaken,” “POS (Piece of Shit),” “The Desperate Maze of a Loser,” “Blink of an Eye,” and “Garden of Liars” form the most destructive block — somewhat in the spirit of Architecture, but with a different energy. It’s the part where everything feels on the verge of collapse: noise, anger, sarcasm, and that sense that we’re still dancing while the ship is sinking.

Then things shift into a more ambient and laid-back mode — or at least that’s how it seems — with “Lemonade,” “Black Coffee,” and “Loner.” Less anger, more emptiness. Lemonade, an acoustic guitar piece, tries to open this act and give you a breath after all that distortion, though it doesn’t quite escape the weight of what came before. The external noise gives way to inner silence: a kind of lucid dream, nightmare, or anxiety flare-up — depending on the day you’re having. An orchestra processed through my blender.

The final act is more scattered, almost like a caricature of sanity: “The Bearded Woman Meets Fedor the Giant,” “Nerds Make Love,” “Dopamine,” and “Be Flat.” Here, irony and solitude mix with absurd humor and resignation. Everything leads to that inevitable ending: me, my instrument, my effects, and my head. Sometimes it makes sense. Sometimes it doesn’t. All imperfect. No edits. But that’s what remains in the end.