Seriously, it's hard to even narrow down what makes this so awesome. The beats have a carefree quality that makes a grown man want to dance with abandon like a teenage girl, and there is an oddly hilarious borrowing of sounds from 90's has-been groups like Marky Mark and the Funky Bunch or C&C Music Factory (please note: Pictureplane never actually samples these groups). Somehow he turns the lameness of many early 90's troupes on their head, to make a fresh uber-hip sound by pulling up these chip-tuned vocal samples cut to mere blips of notes, but at the same time really sealing the deal as far as making the melody hooks WAY more infectious. I am glad it is not instrumental, but his unconcerned mumble is both the album's "weakness" (?) and the icing on the cake at the same time. At moments his mumble almost has that Joy Division attitude, but just with much less push behind it. Good luck diagnosing this yourself.
Tangent: I used to do plays at the local Children's theater, and there was a gay guy I worked with (now a renowned local indie radio DJ and personality), and I would go over to his apartment with some other cast members on long breaks to watch him and his friends dance about randomly to random dancy songs like "Monie's In the Middle" by Monie Love. This album reminds me of that whole experience. Pictureplane has strung together all these great snapshots of 80's and 90's culture, to form a sound that is surprisingly new sounding.
I know most people first associate him with his friend Grimes, and try to place them in the same genre because they are frequent tour mates and all, but I don't see why she is more popular. I like her, don't get me wrong, but her voice takes the focus away, and it never changes. I can get into Pictureplane's distinctive mumble much better, because his beats have so much distinction on their own. His beats are as recognizable as a Picasso, despite the comparisons I have made.
Pictureplane is on an island to himself, and everybody there is raging their a$$ off.