I can't agree with this P-fork review that slams the album for being the same old same old lap-pop; there's some interesting things going on here. For instance, one of Ms. John Soda's signature elements -- the persistent and vaguely ominous (or are they vaguely uplifting?) melodic basslines swimming underneath the glitchy experimental noise action and Stefanie Bohm's sweet and weary voice keeps the album from slipping into the monotony that so often befalls your basic lego-block electropop. There's even stringed instruments floating about in a number of the songs, tipping the whole album more toward the organic end of things, rather than the sterile and distant.
In the end, it's kind of nice to know that moody, acoustic-flavored, and slightly difficult electropop is still available via the Morr Music crowd -- I'm not really ready to consider the genre dead and buried yet, are you?
Ms. John Soda -- Scan the ways
Ms. John Soda -- Line by line