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Dig if you will the picture: Patrick Stump loves Prince. Like, starry-eyed, wants-to-be-him-when-he-grows-up love. At least, that's what the former Fall Out Boy's solo debut makes it feel like. He's got other touchstones, too: Michael Jackson, new jack swing, freestyle, the Isley Brothers.

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But it's the slinky synths, wailing guitars, funky beats and, especially, high soul-rock drama of Prince that dominate. With a few exceptions (the politicized, synth-funk march 'Greed,' the anemic 'This City'), Stump's tribute is so pitch-perfect, it feels like a performance art homage to the Purple One. Dig if you will the picture: Patrick Stump loves Prince. Like, starry-eyed, wants-to-be-him-when-he-grows-up love. At least, that's what the former Fall Out Boy's solo debut makes it feel like.

He's got other touchstones, too: Michael Jackson, new jack swing, freestyle, the Isley Brothers. But it's the slinky synths, wailing guitars, funky beats and, especially, high soul-rock drama of Prince that dominate.

With a few exceptions (the politicized, synth-funk march 'Greed,' the anemic 'This City'), Stump's tribute is so pitch-perfect, it feels like a performance art homage to the Purple One. Dig if you will the picture: Patrick Stump loves Prince. Like, starry-eyed, wants-to-be-him-when-he-grows-up love. At least, that's what the former Fall Out Boy's solo debut makes it feel like. He's got other touchstones, too: Michael Jackson, new jack swing, freestyle, the Isley Brothers. But it's the slinky synths, wailing guitars, funky beats and, especially, high soul-rock drama of Prince that dominate.

With a few exceptions (the politicized, synth-funk march 'Greed,' the anemic 'This City'), Stump's tribute is so pitch-perfect, it feels like a performance art homage to the Purple One.

Makes his game plain with the title of his solo debut,: he intends to fuse soul singing with the songs of punk. Of course as a millennial, ’s definitions of soul and punk do not necessarily belong to those of the boomers. This is not Stax/Volt-meets-CBGB, it’s a highly stylized fusion of post-disco soul and MTV new wave -- both fractured through the modern prisms of and the post- post-punk boom -- a record that plays by a modernized definition of “soul punk.” piles up stuttering analog synthesizers, anchoring them via bumping, old-school drum machines and elastic electric bass, its instrumentation fearlessly retro, its aesthetic modern. Sings “nostalgia I don’t need you anymore” and despite the thick ‘80s gloss he’s slopped all over -- so much it’s seeped onto the computerized neon cover -- that sentiment is true: he’s living in a now where the past is ever present, accessible on YouTube, and shuffleable on iPhones.

Shifts his sounds around fearlessly -- sometimes he brings classic to mind; he launches onto a frenetic march on “Greed” that out-weirds ’s “Teeth”; sometimes his rhythms sound locked in an endless Nintendo loop -- a digital collage that’s ideal for his breathless worry of a world filled with bailouts, no jobs, and no hopes. Like any good album for the information age, is overloaded well past the point of saturation and its merciless in its attack, so it can be a bit overbearing, yet there’s a real, vivid imagination behind its crystalline clamor.