hip-hop instrumentals ('Produk 29'), sinister acid house stompers ('180db') and jazzy breakbeat ('Papat4')". Consequence of Sound noted elements of glitch-hop, chillwave, acid jazz and jungle. Rolling Stone described the album as "thick with Seventies jazz-funk nods" and featuring "future-shock electronics". On the album's overall sound, James said it is "[his] pop album, or as poppy as it's going to get" and "pleasurable to listen to ... maybe just the composition's changed, but there's no next-level beats on there". He attributed this change in style to the fact he had not used computer-controlled percussion during Syros sessions. James also described the album as capping off an era so that he could begin working on new material, stating that "I don't think these tracks are particularly innovative. Maybe in really subtle ways they are, for me, but there's nothing there that I need to explore more [...] It just totally makes me want to not do anything else in that particular style." PackagingSyro (pronounced ) is a neologism coined by one of James' children. It is a shortened version of "Syrobonkus", a "nonsense word one of his sons blurted out while listening to [the album]". The majority of the album's track titles are named after the working titles stored on James' hard drives and reference individual pieces of equipment James used in their recording, as well as the tracks' respective BPM values. A comprehensive list of all equipment featured on Syro is included as part of the album's packaging; Creative Review referred to the list as a "disinfographic".Syros cover artwork was designed by the Designers Republic, a graphic design studio that provided designs for previous Aphex Twin releases, including the 1999 single "Windowlicker" and the compilation album 26 Mixes for Cash. The cover art resembles a receipt, with the official Aphex Twin logo and album title printed upon it. According to Creative Review, the receipt on the album cover details the production and promotional costs of Syro, "from courier charges to photoshoot expenses, expressed per disc and tailored for both vinyl and CD versions." Ian Anderson, the founder of the Designers Republic, noted that the final concept for the album cover was conceived after receiving a number of suggestions from James. Among James' other suggestions for the album's packaging was "the idea of pressing the album or a single track into the fabric of the cover, effectively as a deboss", or using