Any other music theory nerds who love Jeff?

We all love Jeff's immense energy, incredible hooks, and honest and unique lyricism, (which are all great!,) but I'm constantly amazed by the way he uses techniques like counterpoint, modal mixture, and maximalist arranging while still creating music that is emotionally direct. Any other Jeff fans who geek out about stuff like this?

Some of my favorite Jeff compositional moments:

• The fugue-like bridge in Polar Bear or Africa that is just layering on contrapuntal synth, guitar, and vocal lines and then EXPLODES with "I'm gonna die and you're gonna forget my name." That is an absolutely devastating lyric that really doesn't leave anywhere to go beyond that with words, but then it switches into that horrific tremolo guitar solo that harmonizes with the backing vocals and hits something even deeper, darker, and uglier than the preceding lyric. Jeff is a master at expressing with music what can't be put into words.

• The piano countermelody in the 2nd half of Get Warmer is ECSTATIC. The song evolves from a humble acoustic ballad to something that is overwhelmingly grand and theatrical, truly reflecting the never ending circus that is life as a touring musician.

• The unsteady 7/4 sections in Stuff That I Like (Da da da, Da da Da da) create this incredible feeling of being at a party and being jostled/bumped into from behind. Like you're trying to find your groove in the environment, but just can't because of other peoples' carelessness.

• All the math-y rhythmic shenanigans in Sick, Later really capture the feeling of being unsure of yourself. I always get this image in my head when listening to this song of starting to write something and then immediately crossing it out and beginning again ad nauseam. The meter is so choppy and unnatural, but still has this incredible flow to it.

• Vocal Coach is such a catchy and infectious new wave jam, but then you get that prominent flat 2 in the chorus ("So leave me here, you can't just leave me here") that makes it so deliciously uncomfy.

• Pretty much everything on Goodbye Cool World. Jeff just frantically throws everything at the wall, whether or not it sticks be damned. Millennials are always worried about no less than 20 things simultaneously, so the sudden subgenre shifts, the little quirks like throwing in a skank rhythm for a single measure, and the myriad layers of guitars, synths, horns and more combine into a record that is just completely overwhelming. It's not an album about panic, it IS panic.

Overall, though, Jeff has this superhuman ability to throw 100 ideas into a single song, and not only justify them, but make them feel necessary. Jeff is quite possibly my favorite musician of the 21st century because his music is just the total package: brilliantly composed, thoughtfully arranged, and exceptionally well-played; Every band he's been in has been made up of killer musicians, and he himself is an incredible guitar player. But it is also so incredibly sincere and human at the same time. Jeff isn't a show-off, he's really found a way to express himself with such a specificity and maximalism in his writing that is truly remarkable. I would go so far as to call Jeff Rosenstock the Charles Mingus of punk rock (at least in terms of musical ambition, scale, and sheer brilliance, certainly not in personality.)