If you scour through what’s been said about Chick Quest’s Model View Controller thus far, two things have been consistent – an inability to nicely plunk the Austrian plunk band into a genre and then creating genres with hopes one of those will stick. We’d like to think we’re above that second point. But we’re not.

You can tell the band elevated their attention to detail on their latest outing. The vibrancy is clearer to see, the moments of tension a bit tighter, and the desire to throw one’s hands up, escape, and dance away one’s frustration is more relatable. On an album that takes on the absurdities of the world around us with quick bites of satire sprinkled in, Model View Controller could have gone off the rails in numerous ways. It doesn’t.

The opening self-titled track places you right into a high-noon showdown. You get a pretty clear sense of where things are heading, but you know twists-and-turns will abound. That’s when the track kicks it into overdrive with reckless abandon, throwing all caution to the wind on this new-noir tale. And saxophones and trumpets… oh there will be saxophones and trumpets in this fight for survival against the modern mechanizations we’re trapped in.

It’s a trap that we’re trying to run from, written from a personal and wider reaching perspective. Ryan White, principal songwriter, has a unique perspective in his work – one that we absolutely relate to. He’s an expat, and the visa issue is at times tenuous to say the least, plus there’s the fact that, while you might have a core group of friends and close acquaintances, it’s never really your home, regardless of how long you spend in a place.

“The Afterlife” embodies this chase sequence, but in a more 70s, free-frame action movie way. White peers in on the desire to mold one’s image to fit the public/popular eye in way to engage. It more or less treats life as the absurdist show it so often is. Sisyphus still continues to fight the eternal struggle in the 21st century.

Of course, no matter where one may be now, there is the daily grind – one that can be intensified when you’re in a different place while the world is seemingly careening in the wrong direction. Sometimes your fight to flee the grind gets you further trapped in it, as evidenced within “One Dead End Leads to Another.”

With the risk of sounding like we’re shoe-horning it in, which we totally are, can we pay respect to Magdalena Kraeav’s bass work on the album? It’s featured nicely on the aforementioned tracks, and it’s guiding force on “Identity Crisis in the Grocery Store” helps the song to reach a panicked, fever-y state a bit quicker than anticipated. And it’s presence on “Chase Scene” is better witnessed than described, especially when coupled with trumpets that take a while to reach their climax.

Getting back on a holistic track, “Savant Garde,” the dynamite lead single from the album is gnarly, gritty, bubbling bombastic itchiness that’s so patient in the buildup, and it makes sure everyone has their place on the dance floor. They then channel the pulp they seem to be fond of on “Brand New Crush,” which isn’t a campy pulp, but you can get a sense of John Waters to it, even if it’s just a tad.

Ending on the sprawling instrumental “The Mission is Failing,” Model View Controller ties itself up without an full-answers, but it’s not like answers were really needed at this juncture. It’s a balanced, thoughtful closer that shows how much the band has grown while working more as a bridge rather than a full stop.

Model View Controller is out now. Follow the link to Chick Quest’s bandcamp, and get to know it better.