Getting beyond the (mis)spelled song titles, there's a flowing concept here. As with other Ohgr releases, there's continuous merge of song end outro into the next track intro. There are no apparent dancefloor tracks here, with the possible exception of "Come Down", which can limit the CD's appeal. The first two songs are presented with intros. "101" cannot be described without the chant of "who do I have to f*ck with" background female vocal, coincidentaly the longname of the current website name (WDIHTF). The end of this track sounds like a howling scream sample from Skinny Puppy's "Stairs and Flowers" to me, but Ogre maintains it's a new vocal take.
"Crash" includes dialogue over an 911 emergency call. It speaks of medical pharma nightmare aka California's Death Panels which is something that non-USA audiences would not be aware of. "Crash" is a song I don't think I can listen to again and again over time. It only has an initial appeal building its own sound narrative.
Now, the album seems to get to the section you will probably listen to most repeatedly. "Pissage" includes crunchy vocals we have heard earlier from Ohgr. The previously mentioned "Come Down" is the most pop-oriented song on this album along with "Bellew". "Typer" gets into the earlier previews of typewriter ringing "Collidoskope"-era theme but slows the pace of the album. "Screwme" builds with lather. "Screwme" is a formulaeic Ohgr track: it starts with simple keyboard, progresses with vocal and certain complexity, then unravels itself to the core keyboard bit by the end. In the lyric, it seems Ogre has fallen into a state of being controlled by others. "Bellew" sings blue in a ballad-like manner. "Contemplation over this, when everything disasterous is true... (pure)" as the lyrics progress in each couplet. Ogre sings his own backup vocal element here.
The track "Hollow" is straight ahead in its movements, bringing vintage 80:s keyboards and vocal melodies together. "Hollow" refrains with "something smells like sh*t" - not a terribly unique or pleasant phrase, but this track is one of my favourites of the record. "Tragek" has been out as MP3 release for some time and heard by most interested already. "Animist" is a mix of natural voice changing halfway to processed Ogre voice, it ends with that nasty squealing we heard first from the early Puppy days but presented anew. "Nitwitz" goes back to the sound, feel and timing of the early Ohgr song "Cracker", in comparison. It is concluded by surprise through hidden track "Welcome to Collidoskope".
"Undeveloped" almost sounds like three records, the earlier Mr. Brownstone echo-loop-effect era ("Typer"/"Welcome to Collidoskope"), the "101"/"Crash" soundtrack interludes, and the seemingly pop tracks "Pissage"/"Come Down"/"Screwme"/"Bellew"/"Hollow". The last section I mention is worth the full price of the CD alone. Ohgr has been more straight ahead melodic than Puppy of old, or today. Ken "Hiwatt" Marshall has mixed "Undeveloped" which is a new addition for the listener. Keep your eyes and ears ready for an anticipated reverse engineered "Developed" version release, but in the meantime its titled "Undeveloped".