A number of these songs don't have words, because Evelyn Ida Morris didn't know how to say out loud what they were feeling. The album represents a significant departure from the looping pop of Pikelet, for which Evelyn is best known. It builds on the structural complexity of that project, but focuses wholly on piano; huge, wild, racing, dexterous piano. These new works are lush, postclassical compositions, frequently referencing Debussy and Ravel. Thematically, they deal with the experience of being non-binary and making sense of that experience. Evelyn uses they/them pronouns and does not identify as female or male.