You’ll know pretty quick if this record is for you: just put on Jealous (I Ain’t With It) and listen to the first minute. If it’s not grabbing you, you can move on. Otherwise, you’re in for a treat. Almost every track is worth listening to.

Come Alive finds Chromeo experimenting with vocals and introducing some Michael Jackson-like elements. Actually, this is everything I would have wanted a new Jackson record to sound like (XScape was awful). If you want to hear the track that’s more fun than anything else on Unsung this week, you have to listen to Sexy Socialite. What a fantastic track: it’s got all the right elements. The rest of the album is filled with other tracks like that, but my favourites are Hard To Say No and especially Old 45s, which has some fantastic vocal work and harmonies.

If you like dancing and having fun, you’ll love this record.

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Listen to Talking to Ghosts, the opening track: it doesn’t get better like this in pop. And not only is the music stupidly catchy, but Foxes actually has something to say. And Talking to Ghosts isn’t even one of the big singles (although it could be). Youth is definitely one of the big tracks here. Wow. The first minute is interesting, but it gets absolutely great after the one-minute mark or so. Holding onto Heaven has one of the best bridges I’ve heard in eons. And White Coats has one of the best vocal melodies I’ve heard all year; Louisa Rose Allen’s voice is simply angelic.

Let Go for Tonight has a verse that builds and a chorus that simply blows up; it’s unlike almost anything else I’ve heard this year as far as power goes — think about Gaga’s most powerful moment, but add a real emotional core to it. It’s a testament to Foxes that her music can be compared to Gaga without having that pop star’s fame overtake her in conversation.

Here’s a surprise, though: I’ve talked about only the first five tracks so far. I could write about why I love each track on this record, but I don’t want to bore you. This is up there with St. Vincent for contention amongst my favourite records of the year thus far, and is simply a must-listen.

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Each of the tracks here is pretty long, with the longest one six seconds shy of twelve minutes, but it’s worth a listen all the way through with good headphones on. Like all great glitch music, Hopkins is writing songs that build and layer intricately, getting lost in repetition like your favourite techno.

While a lot of people love tracks like Collider and Form By Firelight, which are really glitchy, I prefer the moments where Jon pulls back a little bit. Form By Firelight actually has some great moments where he explores quieter sections, but I could live in Breathe This Air’s more somber moments and the quiet build of Immunity. (Actually, Immunity might be enough to bring some of us to tears. Something about the piano as it builds over glitchy sound effects is just so emotionally powerful.)

If you need good work music, or simply want to be blown away by a quiet hour spent wearing good headphones and listening to fascinating music, you’d be hard-pressed to find better.

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Listen to Lily, for example — this sounds familiar to the point that I’m wondering what Strokes song they stole the chorus from. But I’m not complaining. Push-Up Bras is a winner too. It’s Cruel reminds me of some of the old-school Ramones records. O.J. is about as mellow as the record gets — which might not be surprising when you think about orange juice as a subject matter. The longest song on the record is two minutes and fifty-one seconds, meaning that this is the very definition of quick and dirty. Definitely worth checking out.

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