Equal parts power pop and punk rock, this trio sounds a tad under-produced on "She Treats Me Like a Magazine." The vocals and guitar tend to be much too far back in the mix, resulting in a less-than-powerful track. "Comic Reliever" is an improvement, a mid-tempo track that has all the right guitar riffs, although it loses something during the bridge portions. "Pain" resembles Jimmy Eat World in its emo punk sound and is an early positive, working with a minimal bassline and drumbeat. It also suits the vocal delivery that lead singer Paul Wedel is able to give effortlessly. Slowing almost to a stop near its conclusion, the track gains its second sonic wind and makes the song strong. "Sun/Stereo" is another above-average number, but doesn't have the same sort of urgency as its predecessor. Musically, the group is very tight, yet allows for slight jams in some of the album's ten numbers. "Farrah" has a downbeat tempo that resembles a depressed Gin Blossoms crossed with Blink-182. One track which comes across with a rougher and edgier appeal is the stop-and-start feeling in "Banter Between the Pictures." For a number of songs, though, there isn't a hook or arrangement that grabs the listener's attention from the beginning, especially on "Microfilm." Thankfully, "The Beige Capital" atones for this somewhat, a power punk track that has the Lanes covering all bases. "King of the Cool Kids" is perhaps the oddest-structured song here, a track where the chorus seems to sonically tailgate itself, riding right up and occasionally overlapping the end of the first vocal. It's a decent first start, but not without some drawbacks. It's a small annoyance since the rest of the song is quite good.