A. G. Cook splits this across seven discs, each named for a different setup: drums, guitar, supersaw, piano, Nord, spoken word, extreme vocals. The structure matters. It lets him work through pop music as a modular system rather than a fixed style, so you get covers of Blur and Taylor Swift next to collaborations with Caroline Polachek and Tommy Cash, all refracted through the same hyper-digital production language he developed running PC Music.
The piano disc leans minimal, the supersaw one goes full trance, the extreme vocals stretch into noise. Some tracks last ninety seconds, others build for five minutes. It is not trying to cohere, and that is the point. Cook treats genre as texture, pulling apart the mechanics of a Smashing Pumpkins song or a Sia hook to see what happens when you reassemble them with different tools. If you want a consistent album this will frustrate you. If you want to hear someone think out loud about how electronic pop works, it delivers.
