In the opening seconds of his latest effort, an almost unintelligible, possibly drunk Skrillex offers his audience a convenient substitute for cheap party drugs: “And now we have a new prescription for you / it’s called … Jack Ü.” The man, real name Sonny Moore, may be onto something: The album, unexpectedly dropped midway through a 24-hour DJ set, sent the audience into such a euphoric frenzy that, according to authorities, immediately pulled the plug on the concert. Indeed, listening to the self-titled debut album of Jack Ü, the unholy marriage of electronic heavyweights Skrillex and Diplo, is for the most part an exhilarating and intoxicating experience. Though only running for a brief 36 minutes, the umlaut-happy “Skrillex and Diplo Present Jack Ü” plays like aural Red Bull—fizzy and invigorating, its swirling caffeine highs generally compensate for its eventual crash of a conclusion.

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Individually, Skrillex and Diplo have had their shares of recent missteps. Last year, Skrillex’s first studio album, “Recess,” proved to be a largely middling affair, resembling a collection of unreleased, lackluster material instead of a truly innovative piece of music. Similarly, Diplo’s second album with his side project Major Lazer, 2013’s “Free the Universe,” confused critics  by involving collaborators (Peaches, Vampire Weekend’s Ezra Koenig, Wyclef Jean, Bruno Mars, and Tyga to name a few) who seemed wildly out of place on the dancehall-influenced tracks. But while Skrillex and Diplo may have struggled alone, the union of EDM’s most assiduous artists marks a clear improvement to their listening appeal. Formed almost two years ago, Jack Ü fuses the frenetic dubstep stylings of Skrillex with Diplo’s near-obsession with importing and remixing global sounds. Together, the pair’s respective contributions work alchemy on the record: Skrillex’s ADHD-addled base drops coalesce with Diplo-culled influences from Brazilian favelas and Jamaican shantytowns to create a refreshing addition to the general patois of the electronic world.

Unlike Skrillex’s “Bangarang” or Diplo’s “Guns Don’t Kill People…Lazers Do,” “Jack Ü” lacks that one, irresistible track that will indubitably conquer clubs across America; nevertheless, the album contains a number of immaculately produced gems and stellar featured guests that elevate its quality. “Take Ü There,” the album’s Kiesza-fronted lead single, stands as a testament to the strength of the Jack Ü partnership. The commanding vocal hook, rumbling bass, and raga-inflected drop unite to generate a thrilling musical experience. Likewise, “Beats Knockin” features a relentless barrage of handclaps, electronic trills, and clipped vocal samples that grip the listener from the beginning and never let go. The album never shies away from embracing its own lunacy; over a bombastic, trance-jungle beat, the inimitable 2 Chainz utters the album’s most intellectually stimulating line: “Yeah, I’m the shit / I should have Febreze on me.” It is the duo’s self-awareness of its role in the musical hierarchy—the architect of brazen, stupid entertainment—that renders the album so listenable.

Many EDM albums contain a few collaborations that, though conceptually strong, simply fail to come together; “Jack Ü is no different. In a sense, the album’s trajectory mirrors that of a 5-year-old on a sugar rush: initially restless, giddy, and even a bit frantic, before devolving into a lethargic mess. On “To Ü,” the breathy, slinky vocals of beloved electronic duo AlunaGeorge often drown under the track’s thumping, unflagging beat. Arguably the most anticipated song, “Where Are Ü Now,” features perpetual media punching bag Justin Bieber. While the singer sounds surprisingly refined and mature, his solid vocals are marred by heavy production. And desultory tracks like “Holla Out” and “Mind,” ripe with distortion and laser-like effects, are neither innovative nor catchy enough to warrant a second listen. “Jack Ü ” sinks to its nadir when Skrillex and Diplo stray from their trademark aural assault and begin to delve into a more atmospheric aesthetic; while their attempts to innovate are commendable, there is no point in exploring the quiet when the two so obviously love to be loud.

Then again, to analyze the artistic merit of an EDM record produced by a duo whose name sounds like a black market Swedish energy drink may be an exercise in futility. Frankly, “Jack Ü” is not, nor did it ever intend to be, some sweeping musical statement or incisive sentiment on the human condition. Rather, the record is a manifestation of Skrillex and Diplo’s unwavering need both to party and to convince others to party with them. Despite the occasional lull in energy, “Jack Ü” provides audiences with an opportunity to hear two dance music mavericks masterfully bounce off each other’s strengths. The result is massive, noisy, and pure insanity—unabashedly dumb, but undeniably fun.