Harmonies are ok from a mixing standpoint. The bass on Two Wuv is the best on the record. Once the fog clears, you get some pretty clear sounding vocals. But don’t get turned off by the first couple tracks that make a few mixing mistakes because mixing does get better, even Two Wuv’s electric guitars are better than the opener. These electric guitar explosion on the opener, Good Day, perfectly illustrates my point. The mixing is fairly standard rock fare, complete with the unfortunate rock trope that has persisted throughout the ages: heavy electric guitars overpower the vocals. Not bad for a band I found through a silly internet meme! Sure, Tally Hall seems to wear their influences on their sleeves often on this album, but they still manage to make a fun record with a deeper meaning to find if you look hard enough. There is a certain “joie de vivre” about this record that I really gravitate towards. I was kind of bummed by this at first, but that lack of concept is by design. I was expecting something high concept from that Ruler of Everything song given how much of a strange, yet vivid story it told, but this isn’t really that. The composition is not far off from the alternative scene of the 2000s, with Panic! At The Disco dropping their debut in the same year, for example, but it has enough character to stand out from that crowd. The production’s a little inconsistent, but everyone sounds alright. I just had to keep digging until I reached this album. They gave me Da Vinci’s Notebook vibes, which is always a good thing, but way weirder. I’m listening to this song and I’m thinking, what is this?! Not only did I finally not miss the boat on the hot new internet music fad, but I stumbled onto something good here, I have to check out the rest of this album. I was introduced to Tally Hall as many young’uns like me are introduced to new music in the internet age: through memes! The closer, Ruler of Everything was the hot new meme for a good couple of weeks and it was just weird enough to pique my interest. This is the 2005 debut album from Ann Arbor indie, “wonky rock” band, Tally Hall, a band whose whimsy and weirdness was apparent from the second I heard them.