1. Live band, bars in the mouth
07 · H-O-R-S
Listen for the collision of live rhythm section with crime/sport/luxury bar-writing: rhyme lands like action.
13 · Setagaya
A dense internal-rhyme and assonance chain delivered inside a rock-band arrangement. The lyric keeps changing scene because the sound keeps moving.
2. Piano, space, proper nouns
09 · Neo Noir
Dior / Piccioni / Cipriani / Green Door: luxury, cinema and geography become rhyme material while piano and empty space keep the words from becoming clutter.
12 · Impro
Recursive social language and “looky-looing / who’s-whoing” turn observation into groove.
3. Rock song as compressed image machine
03 · Southerly
Almost no explanatory prose: direction, witch, weather, hell, refrain. A miniature demonstration of song-sized rhetoric.
16 · Throwaway Lines
Longer image-sequence lyric: Pompeii, critics, commerce, spells, loneliness, then a hard joke at the end.
4. Hip-hop becomes industrial club music
Electronic Lover 04 · Abiogenesis
The release calls it an industrial hip-hop send-off; the February source independently identifies Q-Tip’s “Vivrant Thing” as its clearest musical reference.
Electronic Lover 01 · Train Me
Useful contrast: high-BPM club repetition, clipped vocal language and synthetic surface, but still the same larger concern with voice as timed command.
5. Read what the records are doing
ADVENT 1.1 → ADVENT 1.9 → M.M.T. → Sistine Eightrax → The Clue Gun → The Mouth of the Mind.
That route makes the chronology obvious: the writing does not “borrow rap technique” after the albums exist. The verbal and improvisatory machinery is already visible years before LTAP.