Ennaria's MANIFESTO is a 16-track collision of hyperpop, electropop, alternative metal, and internet-era chaos that promises a lot of craziness but doesn't always commit to it. The Australian artist and producer has a sound built around distorted electronics, exaggerated vocal effects, deep bass, and a deliberately over-the-top persona. There are moments when everything comes together, creating catchy, glitchy, and genuinely aggressive music. However, much of the album feels surprisingly restrained for an artist working with such abrasive sounds. The production occasionally feels washed out, some of the vocals are so distant that they lose their impact, and several songs seem hesitant to embrace the chaotic energy they're reaching for. When Ennaria finally lets loose, though, the results can be excellent.

“Epigraph” sets the tone with a short, psychedelic introduction built around television sounds and spoken dialogue about becoming a rising star. It has an eerie, slightly unsettling quality that makes you expect something completely unhinged to follow. “ME!!” initially delivers soft synths before introducing distorted electronics and heavily processed vocals over a midtempo beat. The deep bass adds some welcome weight, while the cute, almost MySpace-era aesthetic brings to mind the intersection of early internet pop and EDM. Still, the song feels too reserved to fully capitalize on its own concept. The distorted vocals and slurred delivery create some interesting textures, but the track never gets quite as wild as it seems to want to be.

“Show Off” pushes the tempo higher with deep synths, glitchy vocal effects, and a more upbeat rhythm. The catch is that Ennaria again seems reluctant to fully commit to the hyperpop chaos. Whenever the song introduces bolder screams and heavier bass, it becomes much more exciting, and those explosive moments are easily its strongest feature. The problem is that the track feels a little too long for the amount of variation it offers. “CUTE” has a similar issue, starting with bubbly, stop-start beats and a deliberately awkward, understated vocal performance. The first half feels strangely empty, with the deep bass doing most of the heavy lifting. As the song progresses, however, the beat becomes catchier and the dubstep-inspired electronic elements add some much-needed energy. It eventually becomes fun, but it takes a while to get there.

“2 my haterz” mixes squeaky vocals, distorted synths, deep rap-style beats, and cute electronic sounds into an intentionally disorienting arrangement. Ennaria's delivery remains relatively deadpan, which seems to be part of her chosen style, and the contrast between that flat vocal approach and the increasingly energetic production creates some interesting moments. The beat builds nicely toward the end, where the deeper bass and glitchy textures become considerably more engaging. Still, it takes “Monstarrr (VIP)” to deliver the kind of performance the album has been hinting at. The distorted vocals and monster-themed attitude initially sound playful, but when Ennaria switches into her rap delivery, she suddenly sounds much more confident. The screams hit hard, the middle buildup leads into a thick, distorted chorus, and the hypnotic synths create a genuinely exciting atmosphere. The heavier dubstep-inspired sections are especially effective, giving the song an identity beyond its aesthetic. This is Ennaria at her best: weird, aggressive, catchy, and fully committed to the ridiculousness of the concept.

“UGLY” continues with high-pitched vocals and distorted synths before introducing dense, heavy electronic riffs. Its slower buildup gives way to deep bass and tightly controlled synth rhythms that become increasingly hypnotic. The monotone vocal delivery remains a divisive element, but the catchy vocal fragments and explosive electronic finish show how effectively Ennaria can construct a hook out of unconventional sounds. “Actus Reus,” on the other hand, suffers from a thinner production, with distant vocals and instrumental elements that seem buried behind one another. The deep bass and catchy synths have potential, and a brighter midsection featuring glass-breaking-like electronic sounds gives the song a welcome boost. Unfortunately, the production makes it harder to appreciate these ideas fully. “It's MY manifesto so I get to choose the music” is considerably more chaotic, throwing repeated vocals, glitchy synths, and distorted bass into an abrasive electronic assault. It's fun in a deliberately obnoxious way, particularly when the faster synth patterns become genuinely catchy, but the inconsistent mixing occasionally makes the track more tiring than it needs to be.

“Jealous” takes a more subdued approach, relying on distant vocals, distorted synths, and a deep, hypnotic bassline. The atmosphere works, but the bass sounds overly muffled, and the song stretches its ideas longer than necessary. “Nihilist” improves matters with a much more effective balance of booming bass and glitchy vocals. The volume levels feel better here, allowing the bright synths and low end to work together instead of fighting for space. Its buildup is catchy, and the increasingly glitchy closing section provides a satisfying finish. “Dissociate” offers softer synths and clearer vocals, creating a more relaxed atmosphere, although the repetitive vocal delivery and relatively sparse beat leave parts of the arrangement feeling empty. The bass helps carry the song, but the production could use more detail to keep the softer passages engaging.

“Dysmorphia” is one of the album's more interesting thematic moments, pairing glitchy electronics and deep bass with lyrics about body image and the feeling that becoming lighter can somehow make you feel heavier. The subject matter gives the track emotional substance that some of the album's more playful songs lack. The distorted vocals aren't always convincing, and the quieter passages feel awkward at times, but the heavy bass and direct lyrical concept make this a worthwhile inclusion. “DAMNED” then delivers a sudden burst of chugging guitars, blast beats, and vicious screams. This brief detour into something resembling extreme metal is exactly the kind of unexpected move the album needs. It's nasty, loud, and effective precisely because Ennaria doesn't drag it out.

Unfortunately, “CRASHOUT” doesn't deliver the explosive payoff its title suggests. Its distant vocals and slow buildup eventually settle into a fairly simple synth-driven beat, while the washed-out production makes the whole thing feel less immediate than it should. “See Through” closes the album with soft vocals and distant synths, gradually introducing fuller electronic layers without ever reaching a particularly explosive finale. It's a reasonable, mellow send-off, even if it lacks the impact needed to make the final moments feel especially memorable.

MANIFESTO has plenty of personality, but its execution is inconsistent. Ennaria clearly has an ear for catchy electronic hooks and knows how to combine cute aesthetics with abrasive sounds. “Monstarrr (VIP),” “UGLY,” and “DAMNED” show how exciting the music can become when she commits fully to her ideas, while “Dysmorphia” offers a more substantial emotional perspective. The biggest obstacles are inconsistent mixing, repetitive vocal delivery, and songs that build toward something bigger without always reaching it. There's a strong artist underneath the distortion, and when Ennaria lets her vocals become as strange and aggressive as the production, the album genuinely comes alive.