There’s a fine line with instrumental electronic EPs between “hypnotic” and “background noise you forget is even on,” and MOMARZ spends most of THE THEORY teetering right on that edge. Sometimes he lands it. Sometimes it drifts a bit too comfortably into the background. let’s dig in a bit more.
“Party Moves” kicks things off with intent, even if it’s not exactly reinventing anything. The beat is tight, the synths have that slightly nostalgic glow, and there’s enough groove to pull you in. It does what an opener should — sets the tone — but you can already hear the simplicity creeping in. It’s catchy, but it’s also safe. You’re waiting for it to properly explode and it never quite does.
“Beyond Sight” is where things start to feel more interesting. There’s a bit more space, a bit more atmosphere, and the piano elements begin to creep through in a way that actually adds emotional weight. This is where MOMARZ’s whole “emotion per track” idea starts to make sense. You can feel the intention behind it, even without vocals spelling it out.
“Dynamic Energy” then leans back into the more functional side of the EP. It’s got rhythm, it moves, but it also feels like the kind of track that exists more as a bridge than a destination. Again, nothing wrong with it — it works — i’ts actually my favourite track on the ep but it doesn’t leave much of a mark.
This is where the “quite basic in points” criticism really starts to stick. There’s a lack of risk here, like everything’s been smoothed down to avoid friction.
By the time you hit “The Theory,” you’re expecting a statement. Title track, centrepiece, all that. And to be fair, it does try to step up. The layering is stronger, the blend of synth and piano feels more deliberate, and there’s a sense of build that actually pays off. It’s probably the closest the EP gets to feeling like a fully realised.
“BOOST THAT BASS” does exactly what it says on the tin, which is both its strength and its problem. It hits harder, darker, it’s more direct, and it’s probably the most immediate track. But it also leans heavily into repetition without evolving much. It’s the kind of thing that’ll sound decent on a playlist but might not stick with you five minutes later.
Closing with “Signals,” there’s a shift back toward atmosphere, and it’s a smart move. It feels more reflective, more considered, and gives the EP a bit of emotional closure. The piano work here is spiky and slightly off beat but effective, and it hints at a deeper artistic voice that doesn’t fully come through across the whole project.
What’s frustrating — and promising — about THE THEORY is that you can hear the potential clearly. The idea of tying tracks to specific emotions is solid. The combination of synthwave textures with piano should be a killer USP. And when it clicks, it really does add something different. But too often, the EP plays it safe, sticking to simple structures and familiar patterns without pushing them far enough.
That said, for a first instalment of a bigger 16-track vision, it does its job. There’s something here, definitely. But next time, it needs to take more risks, hit harder emotionally, and stop playing quite so nice.
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