It’s interesting to look at how far you can take the “sequel” theme with this record, each song seems to directly reference, or reply to, a song from Stage Names. Opener “Lost Coastlines”, with it’s extended metaphor and melodramatic use of duet to lament Meiburg’s leaving the band, turns the band’s life into a movie, contradicting the opening of SN, “Our Life Is Not A Movie.” “Blue Tulip” is the female perspective of “A Girl In Port”, the story of an obsessed groupie, and as you pointed out, “Pop Lie” seems like the bitter, venomous cousin of “Unless It’s Kicks.”

This like this might seem like reading too much into what is also a damn great collection of tracks, but Sheff’s intelligent use of literary techniques in pop music just makes his music all the more thrilling to listen to; nothing he sings is void of meaning.