We’ve always looked into death from the perspective of those still living, grieving the loss of their loved ones. But Quadeca chooses to sing as a ghost, regretting taking his own life and struggling to come to terms with the fact that his family is moving on without him. The artwork for the album represents the grim, unlifelike atmosphere with blurry depictions of both Quadeca and a house that would come into importance on later tracks in the album. Listening to the album sends the reader into the same line between life and death that a ghost would experience, unsure whether to leave the world in peace or to haunt those still living.

The album’s opener, “sorry4dying,” enters the album’s world orchestrally with long, winding passages of atmosphere attached to subtle vocal moments that help introduce the album’s themes of family and retaliation through unsettling lines such as “I just wanna hold you without haunting.” He acknowledges the decision to take his life has already been made, claiming to have been “Passin' through these walls I used to call a home / I left my body lyin' on the door mat.” However, the repeated “Next thing you know” in the last minutes of the song foreshadows the track “tell me a joke,” where Quadeca starts to question his decisions after seemingly being content with his death.

In this next track, Quadeca attempts a ballad with a somewhat more conventional song structure, with repeated choruses expressing the vain, bleak reality of his situation, dementedly laughing at the jokes he performs to a nonexistent audience. It's gentle, cynical, and even theatrical at points. The extended metaphor of crickets towards a poor joke personies his suicide and the silence of Quadeca’s family. The repeated jokes made to no avail drive him to madness and realization, shown through lines such as “How can it be? It's a setup, the punchline was me / Over my head, I couldn't see.” This madness builds into a harrowing section of distorted drums, desperate vocal performances, and crazed laugh tracks for the song's climax.

We get to fully understand Quadeca’s grievances and desperation to be acknowledged in the liminal song “don’t mind me”. It is a transportive and otherworldly track, sung with lyrics reecting his observations made while watching over his family, such as “You made a collage, a souvenir version of me / Curated, perfect and neat / Rebuilt the memories, re-said the words that I speak / Reborn through the dirt and the weeds.” He desperately wants his family to realize he’s there, but struggles to accept that he is invisible to them (“You point to the sky, if only you knew I’m so much closer”). As the verse progresses, attached with unexpected but tting Chicago-drill-style drum patterns, he grows continuously more desperate as he realizes the pictures holding his identity and soul are being locked away in the attic, and he feels trapped and forgotten. Additionally, guilt begins to become a central recurring theme in the album. The second half of the song is a gorgeous instrumental section with building piano arpeggios, string trills, and lush background vocal harmonies. It is a truly moving and impressive composition, especially considering Quadeca’s history only two years prior as primarily a “Youtuber” who made music derivative of other trap styles with more compelling performances and progressive ideas, in addition to Quadeca's seemingly minimal producing experience.

Quadeca dives deeper into folk-like, detached atmospheres with the song “picking up hands” which feels almost boxed-in (possibly to reect being trapped in the attic from the previous song) with the distant and drifting sound engineering. It is both the project’s most acoustic cut and the most truly “ghost-like” produced piece. The song is multiphased, intimate, and forlorn, with artsy lyrics lled with imagery reminiscing on old childhood memories.

The album’s rst single, “born yesterday,” follows next in the tracklist. It follows a structure of three buildups and releases, with psychedelic sections, swirling waves of atmosphere that sound like trudging through an unwavering blizzard, and an extremely emotional nal section that shows Quadeca singing while weeping and almost crying in his delivery. “For No One” by the legendary band The Beatles is sampled and used repeatedly in the song, taking the lyrics, “You want her, you need her / she no longer needs you.” This interpolation is a reference to his mother, who, at this point, is starting to move on from his death, while Quadeca deeply misses her presence and is overridden with guilt. His regret is showcased through lines such as, “I had just a hint of doubt / I wish I let that hint become me.” Every word spoken is laced with misery. Even in its title, symbolic of his new life as a ghost, “born yesterday” serves to be one of the most powerful climaxes in the album and represents everything right regarding the project’s execution. It is followed by an interlude, “the memories we lost in translation”: a brief but breathtakingly beautiful instrumental passage that begins to transfer his feelings of isolation into vengeance.

This is manifested in the song “house settling”, featuring critically acclaimed and respected experimental hip-hop artist Danny Brown. While “born yesterday” represents a sonic climax in the album, this track is a conceptual turning point, tone shifting Quadeca’s depressed, longing point of view into a frustrated desire to kill to his family, who unknowingly ignores desperate attempts he makes to announce his presence. His family also has not made an effort to commemorate his life or even fully acknowledge and clear up his suicide, shown through lines such as “Dents in the rug, aging cytosol / Breathe in the air, laced with my withdrawals,” with dents in the rug referring to the kicked chair under his feet, left untapered, and cytosol being the remains of his cells undisposed and left to disperse around the house. This is accompanied by pounding, dissonant piano chords reminiscent of a horror movie soundtrack, building up tension as the song progressively darkens in tone. Even the song’s title represents his family disregarding his “feet on the door, over each, every board” as merely natural sounds of house settling. The Danny Brown guest verse, appearing around the halfway point of the song, further progresses the track with experimental, glitchy, and bit-crushed textures filled to the brim with detail. Frightening screams with heavy, desperate breathing are also audible, most likely
representing his family, as Danny Brown raps from the perspective of carbon monoxide poisoning used in an attempt to bring the family to a place where Quadeca can never reach them again. It’s dark, uneasy, and horrifying, leading perfectly into the next track, the LP’s most distinctive and experimental.

“knots” departs from the overarching sound of the album by incorporating elements of industrial and rock, being the most aggressive, gritty, and heavy song on the album. The song structurally has a lot of changes as it progresses, too: it starts slow and uncanny with distorted, rambling vocal ideas that evolve into heavy, metal-like guitar chords, eventually transitioning to a more frantic, hip-hop-inspired sound with piercing snare drums and screams of “I don't fade to black, I cut to static,” a possible reference to the static in the album’s nal song. It's a whirlwind of anger, guilt, and insanity generated by the events of the previous song and ends with a poem reecting his regret, looking back on the day he chose to end his life.

This ashback to his suicide is represented in the song, “fantasyworld”, serving as another sonic climax of the album. Beginning as a somber piano ballad, Quadeca sings his nal thoughts before suicide, longing for more in life. It's eerily intimate and idolizes a “fantasy world” where he claims, “I could be so much more / Than I am,” comparing the afterlife to imagined, comforting locations such as a bakery or cabin overseas. However, after about three minutes of anticipatory relative quiet, the song explodes into maddening walls of distortion and drums, louder than any other moment in the album. It continues to build up, and any other sound, including Quadeca’s vocals, becomes entirely drowned out by the noise. At the peak of its volume, the song dissipates back into the pretty piano ballad the track began with, falling into droning breathing sounds and psychedelic textures as the song meets its nish. It is truly an impressive moment in Quadeca’s progression as an artist and never overstays its welcome despite its seven-minute length.

The heavenly track “fractions of innity” represents Quadeca nally starting to come to terms with his death, no longer wanting to hold on as he realizes it will hurt both himself and his family. It features global superstar Kanye West’s Sunday Service Choir, who provide a blissful outro honoring Quadeca’s mother. Using synthesizer melodies, soft piano arrangements, and heavily reverbed, larger-than-life choruses, the entire song feels like a release from the emotional connements that had been holding Quadeca to Earth.

The album is closed by the eight-minute-long “cassini’s division”, which barely feels like an actual song but more of a soundscape. It is structured with a relatively repetitive instrumental containing deep, stereo-separated bass, piano arpeggios, and strange, undecipherable vocal screams backed with spoken word poetry. This track is haunting and uneasy, and it is even possible to hear moments of crying piercing through moments of the hypnotizing instrumental. He reflects on his dead body being noticed by a family member through lines such as “I stopped kicking and screaming when you turned the lights on /You woke me up / I felt naked, I felt exposed / I felt like for the first time, I was intruding on something.” Eventually, it dissolves into three minutes of static that get progressively louder and fuller until the pitch of the static rises to oblivion; Quadeca has finally let his soul leave into the void.