"I'm worried that if more people hear Fog, they'll realize that the rest of us are a bunch of hacks," says Low's Alan Sparhawk of For Good, Andrew Broder's first opus as Fog since 2007. It's unsurprising seeing Minneapolis artists supporting the living shit out of each other, but Low just put out their best album in a decade, and For Good seems to be following the same path. You can imagine him walking along a snowy Mississippi on highlight 'Sister Still', putting together the finest details of upper-midwestern adult living.

Broder takes the scattered ideas of the Twin Cities art-rap heyday and puts them back together in a patois of DIY electronic and soul. There's off-kilter drum machines, bass, all sorts of pianos, fuzzy 808s, and even herky-jerky acoustic guitar at play. If Broder were rapping, it would overwhelm. Instead, he puts his tenor on full display. His tales contain minutiae like lunch breaks, commuter traffic, and having a moment with the girl at the register. On 'Trying', he maintains a grip on reality by trusting in love through the "compromise, counterclockwise" nature of the 9-5. In the video, he's tying his tie and brushing his teeth before work, looking on the brink of a mental breakdown. A flash of his smile at the end keeps the attitude in good humor, and manages to soften the blow of the song's maniacal drone.

Fortunately, he's not always assigning meaning to every action. On 'Father Popcorn', he lists dozens of little things over a minimalist piano line: "peace of peach pie/cup of coffee/wet my fingers/brush my hair back." As the album's closer, it works excellently, reminding each of the preceding tracks that life happens in the moment; and that how you choose to react to it is up to number one.

For Good is also an album made in the thick of the internet age. Broder's icy instrumentals often act as a persistent Twitter feed or Wikipedia wormhole. On 'Jim', the rapid-fire beats break a few times for a lilting vocal before muscling up over a squealing saxophone, symphonic arrangements, and numerous sputtering drum sounds. "Motioning to you/from the service door/your seatback driver's side, texting," sings Broder, reaching out for human interaction, instead resigning to "joyriding the pallet jack." Whether at work or play, he's either interacting with others or examining what it means to do so: "Is this forgiveness/when I screw you against a stone wall?" Broder's love of life despite the roar of commuter highways absolves him of whatever transgressions he's trying to get off his chest on 'Jim' and 'Cory'.

As it were, Broder begins the album with the mission stating, title-track opener. He softly wonders about the stagnation of his life as an Eskimo Snow-era Yoni Wolf. "Are we related/who I kneel for/I wanna know, is it like this for good?" he says before describing the mild weather and how he's saving money on energy costs. Throughout the rest of For Good, he digs into other intricacies of everyday life and questions their importance, only stopping for brief diversions like getting "sucker punched by a meth head" on the single-worthy 'Kid Kum' or the "news of a fire at the bottling plant" on 'Trying'. These events put pressure on Broder, but his insistence on believing in love and human connection in his daily life makes even the worst news seem trivial, and puts him in a class of Minneapolis musicians that have real, tangible character.