In the first 43 seconds (the length of the first track) of the Robot Ate Me’s, Good World, Ryland Bouchard captures the listener’s interest with a tease of endearing falsetto and airy guitar. But instead of dragging said interest along with an aggravating insistence on non-sequiturs, Good World politely suggests, “If you liked that intro, maybe you’d like these other ditties. They’re sparse and tinkering, but thankfully, you’ll be able to hum along.” Compositions on Good World are short and their themes are simple. Melodic lines flare up like sparklers and die out just as quickly. In their midst hover clarinet squeaks, dramatic crooning, percussive snaps, and tinkling xylophone and piano. Bouchard creates what seem like glimpses into larger pieces, giving just enough detail to inspire curiosity and affinity. Despite their somewhat scattered and abstract nature, the songs are not inaccessible, or worse, boring. They are simply not given enough time to do anything but present themselves, impress, and move aside for the next one.