The album opens with “New Sound / Pogrzeb Mariachi,” a slow, beautiful piece rich in keyboard variety that shifts into an outstanding synthesizer solo during its second half. The journey transitions into “Pink Molya,” which plays with odd meters, dynamic variety, and pleasant saxophone solos. “Stupid Jazz” follows, featuring melodic trumpet work alongside tasteful dynamic and rhythmic shifts mid-track. “Urodzinowy” adds an intriguing layer, balancing a solid musical foundation with humor buried inside the arrangement, echoing the ironic tone found in the song titles. Mid-album, “Ballada o Jazzie” packs phenomenal drum fills into a dense 3.5-minute runtime before an abrupt ending. The record closes with the energetic “Rid Rock,” driven by vibrant saxophone and organ work.

The strength of this album lies in how much is executed via keyboards, subtly accompanied by guitars, bass, and wind instruments. Each track is compact, needing nothing more than what is presented. The instrumentalists actively explore different sound palettes, ensuring no instrument sounds identical across the runtime. From this perspective, the title POP from PROG is perfectly fitting.
Rather than seeking moments to release tension or show off muscular virtuosity, the record maintains a brilliant balance of accessible melodies and high-level execution. To summarize in four words: no filler, only killer. White Molya spend their thirty-six minutes wisely.