One of the eternal critiques against pop and pop/rock is how blasé it can be. There's not much left under the sun for genres built on four-chord progressions and diatonic melodies. That can't be said for Canadian group We Are The City. Though they've largely been under the radar (likely due to their experimental elements), RIP is already their fourth full-length release with Tooth & Nail Records. This album is a perfectly suitable summation of the group's sound: an energetic balance of synth and guitar that usually rests underneath the eccentric vocals and musings of Cayne McKenzie. What this record does better than their previous efforts is in the lid-tight songwriting and flawlessly complementary production. In a time where most pop records are overblown and grating, RIP should be praised for that alone. Ironically, for a pop record, the biggest flaw here is how forgettable the tracklist can be.

Perhaps this is because much of the record resides in casual vocal distortion and electronic palettes. It could also be that many of the melodies are unengaging. There are spots plentiful where melody is abandoned for something closer to spoken word or whispers. Though these monologues work well thematically (see the discordant longing for "tomorrow" on "You're So Clean"), they can be hard to remember. Still, one of the record's biggest surprises is how lyrically thoughtful and poignant it can be in its straightforwardness. After the aforementioned monologue, the disorientingly long "You Can't Blame Me, But You Can Blame Yourself" provides transition for the contemplation of the inevitable pain that comes with growing up a sinful being on "God & Man." This track's most provocative lyric - "If Jesus was really God and man/But never sinned/Was He ever really man?" - is less a questioning of doctrine and more so a capitulation of the loneliness we bring upon ourselves. Challenging concepts like this elevate the record above typical pop fare.

RIP is often fun, often forgettable, but above all: different. McKenzie's acrobatic, exaggerated vocal style might not be for everyone. Experimental rhythmic choices like the entirety of "Obviously" might not be for everyone. The dance tunes might also not be for everyone, and the same can be said for the contemplative stuff. Regardless, the fact that it's different is enough to warrant a listen or two.