Pacing is the real story here. The first three cuts feel like the band still finding the room, then it locks in and doesn't let go until the closer. The mix prioritises bottom end and it's all the better for it.
Reference points: late-period Stevie, the quieter Steely Dan records, anything Larry Levan would've spun at 4am. Doesn't sound like any of them — sounds like it learned from all of them.
Drums make the record.
Surprisingly listenable. Not surprisingly great.