falsetto on "Something To Look Forward To" and "Stay Don't Go"". The former has been described by the Stereogum article as a "nicely knotty, a too-short spurt of sass" whilst the latter track "sports a human beatbox rhythm" or "just a guy breathing funny", the music on top of it described as being "made up of Depeche Mode type flourishes and Prince meets Bowie vocals" The song "Jonathan Fisk" is based on a bullying middle school classmate of the songwriter Britt Daniel. According to Daniel, "Fisk" is now a fan of the band, and "came to all of [Spoon's] shows for about two or three years". It has been musically described as being "more punk-ish but still relatively spare, even when a saxophone surfaces". "Paper Tiger" has been singled out by many critics as being the album's best track, Tiny Mix Tapes describing it as "a minimalist ditty [...] With orchestral swells, reversed effects, rim clicks, piano chords, and a haunting vocal melody". Doug Wallen of PopMatters wrote that the song breathed "sweet new life into classic love-song fodder -- "I'm not dumb / Just want to hold your hand" and "I will be there with you when you turn out the light"". "Someone Something" features a heavy Elvis Costello influence (of whom Daniel is an "ardent admirer"), Delusions of Adequacy describing it as " jump(ing) and hop(ping) along [...] a neat piano and nicely placed drum fills". The following track "Don't Let It Get You Down" too has piano "but also with newfound bluesy twang", the intro described as "part Stones and part Elvis Costello". "All The Pretty Girls Go To The City" has been described as "another fun song highlighted by good piano work that mimics the vocal lines". The PopMatters article writes that the song is "haunted by brooding keys and, finally, lush instrumentation, like a Motown 45 transmitted from the wrong side of the tracks. "You Gotta Feel It" has been described as "eternally bluesy" and features "distant backing vocals and baritone saxes". "Back To The Life" features a tambourine and handclaps that "come in at the exact right moments". The song "opens with a demented cackle, then laying on heavy rhythmic sampling and melodic trickery". The closing track "Vittorio E" has been described as "an undulating, vaguely psychedelic ballad" and an "anti-ballad", the aforementioned Pitchfork article describing it as "a 3-minute synopsis of the album's