Despite its titular implications and arty conceptual aesthetics, Structure is more lighthearted than it is self-serious, with the only actual “structure” being found in its tracklist. “The important thing to remember is that this is weed music,” Amos says. “There was not a single drop of work done in the recording, editing, or mixing process that was not preceded by a spliff.” Bitingly witty in their respective solo projects, both Rachel Brown and Nate Amos naturally apply humor to Structure, a record which reflects the band’s lock-and-key creative process. “like solving a puzzle with a ton of different answers,” offers Brown, whose lyrics are plucked from their own journal and filtered into Water From Your Eyes’ musically calculated format.

When put together, Structure’s fragmental base only bolsters its effectiveness as a sequential whole. The opener, “When You’e Around,” was originally intended for a film that was never made, while “Monday” is a song for a film that doesn’t exist. Both tracks serve as eerie precursors for Structure’s paralleled sides. Avid listeners will revel in repeated plays to uncover the record’s melodic subtleties, rhythmic minutiae, and lyrical repetition. Structure is a first-class achievement in brutalist pop: it’s dreamy and dissociative, nuanced and hypnotic, and weaves together threads for listeners to unravel with each spin.