12 June 2026 - Circadian Promise (Fires in the Distance)

 

 

Release Date: 12 June 2026

Song Count: 6

Duration: 49 minutes, 22 seconds

Rating: 8.7/10

Description: 

 

Three releases incoming for this day, and while the other two may have more eyes being drawn on them, I have decided to give this one the honour of getting the same day review.

 

Fires in the Distance are a band from Connecticut whom I have loved the work of for quite some time now - their album from three years back, Air Not Meant For Us, is one that I honestly consider to be a masterpiece and one of my favourite albums of all time, and that is not wording that I hand out lightly. The kind of melodic death metal that they make is not only exemplary of the biggest strengths of the subgenre, but also subtly unique with the inclusion of pianos and the like that make their music sound highly graceful and artistic. This stylisation carries over through this brand new record, Circadian Promise, which contains a highly similar essence.

 

Not only is there a steady balance reached between the powerful riffs, masterful playing of metal instruments and growling vocals and the intricate melodies that the guitars follow, but the latter side is backed by the aforementioned signature elements like pianos and alternate sound effects - including subtle electronic ones - that enhance the full experience. It all seems brutal and brazing, yet also ethereal and beyond any grounded confines, leading to a fascinating dichotomy which reels the listener further in, similar to how one would imagine a set of theme songs for a biblically accurate angel of sorts to sound like. Even with the initial weight of it all making one feel like they are drowning in the sounds of the distorted guitars, especially with the repeated listens, each segment and track sticks out more positively for its highlights.

 

If there was something harsh to say about it all, it is that Circadian Promise is not quite to the level of the full-length of the band I hold the most highly - but that is a particularly tall order for a new release that has the chance to grow even further on me over time. It certainly is very reminiscent of its predecessors in style and form, and uses them just as effectively, meaning the disconnect lies solely in the familiarisation with the melodies and motifs themselves. Particularly "Once the Silence Takes Your Place" blows it out of the water and would certainly not feel out of place in the album prior, both in sound and in quality, though there are no songs that outright would anyway. This one is one to tune into for any metal fans out there for sure - Fires in the Distance really deserves far more recognition than they get.

11 June 2026 - The Power Cosmic (Bal-Sagoth)

 

 

Release Date: 11 October 1999

Song Count: 8

Duration: 40 minutes, 29 seconds

Rating: 6.6/10

Description: 

 

(Note: Oh hey, 250th album review!) 

 

Ready for the launching of an inhumane rocketship away from earth, we witness the spectacle of a reborn demigod being released from his shackles at the bottom of a crater of the moon to retrieve an all-powerful artifact. If you have no clue what the sentence you just read was, this is only the surface of the highly complex lyrical canon and storytelling behind The Power Cosmic, a symphonic black metal album from the tail end of the millennium past. The masterminds behind this fascinating piece are Sheffield-based band Bal-Sagoth, a group of then-five musicians, all united under the shared goal of bringing science-fiction and fantasy storytelling together with the medium of the metal genre. Though the band has yet to release any new music in a decade's time now, it is an intriguing dive to take a look at a snippet of their music and lore.

 

Though the essence dominating the soundscape is a marriage between symphonic guitar riffs being fired along and black metal tinted brutality, the tracks contain a lot more of a dark tint and gritty texture to them compared to most other bands and works of the calibre, making it sound wildly unique as a result. Vocalist Bryon Roberts alternates between a grand feeling, clean style of delivery akin to what one would imagine an all-powerful deity to sound like, and highly unclean and choked out vocals more reminiscent of, to put it most accurately, a pained pterodactyl than human speech. A sort of fog or air of mysticism is cast through the raw and abrasive way the music sounds whilst simultaneously telling a story and alluring to being something larger than its surface-level tune.

 

With gods and demigods, space and time travel, supernatural powers and destructive wars and horrors on a cosmically large scope, the more narrative side of The Power Cosmic has plenty to offer for those willing to dive into the details of what is being sung about in the eight tracks. The story follows Zurra, an independent malicious demigod who found himself released from his imprisonment under the Mare Imbrium - essentially a lava plain on the real Moon - and is on the hunt for the shards of the Empyreal Lexicon, an artifact described to bring great power to its wielder. Throughout his journeys and battles on this quest, it is repeatedly shown to us through the lyrics that this protagonist is not a character to actually root for or morally align oneself with - as such, he is consistently on the verge of being stopped by other entities vowing to prevent the repeat of further great disasters already caused by him, and receives his consequences accordingly in the end. It is important to note, however, that the majority of this story is not told through the actual songs' lyrics, but rather through a lyrical booklet that gives the actual contexts in excruciating detail, while the former only acts out the most key lines in a way where it is often even unclear who is being portrayed with each lyric.

 

Conceptually, this album has aspects of brilliance embedded within it and is clearly a piece of a larger pantheon established by the full discography of Bal-Sagoth. And though it achieves the goal of sounding as melodic yet as menacing as possible through its sound and contents, saying that it does an effective job of standing its own ground as a full-fledged story would be frankly untruthful without the lyrical booklet essentially providing every needed explanation. As such, the record emerges as a decent metal album with plenty of enjoyment to derive, yet an ultimately poorly executed concept album that struggles with implementing its highly interesting ideas and story beats on paper into the medium in play. Perhaps this is done much better in other albums of the band, however, and it is safe to say that these guys are no slouches when it comes to making hard-hitting metal music.

10 June 2026 - AMARANTHUS (Momoiro Clover Z)

 

 

Release Date: 17 February 2016

Song Count: 14

Duration: 1 hour, 3 minutes, 5 seconds

Rating: 6.2/10

Description: 

 

In case the way the cover looks is treading into uncanny valley territory, do not worry - I had the same reaction at first.

 

It is time for a Japanese idol group to finally take the front stage here, that being Momoiro Clover Z, a group of four (then five) women that sing and perform dressed in particular colours assigned to them to make them extra distinguishable. AMARANTHUS is their third full ride along the music roller-coaster, and listening into this album that has since now celebrated its ten-year anniversary, one may be both surprised and unfazed by what it has to offer, depending on familiar one is with the group's signature hyperactive and "extra" sound and style.

 

With the five members taking their turns to showcase their vocals in every track before they all come together as one big cheery force in the choruses, the fourteen tracks really are as typically Japanese idol-flavoured as they could possibly be. Though sticking primarily to a pop or adjacent sound profile, electric guitars, saxophones and other various unexpected instruments certainly do not shy away from the spotlight at momentous occasions, adding an additional touch of unbridledness and edge to the experience. Perhaps a full hour of this highly energetic and melodic yet also very formulaic sort of music can become a bit draining over time; the highlights and switch-ups in moods and colours of sound, however, do keep the ball rolling, especially in the first and last thirds of the record.

 

Regardless of how one may perceive this kind of music, whether it be as overly corny or as absolutely electric, one thing is difficult to ignore: these songs sound like they would be an absolute blast to watch at a live performance, especially given the equally extravagant choreographies, skits and stage presence the Momoiro Clover Z girls are said to provide when given the public room and microphones. While the studio version is particularly held back in enjoyment by especially the middle portion stalling a little without throwing in anything novel to mentally latch onto, enough is present here to at least partially counteract this weakness, and it all appears to be a charming set of tracks starring five very talented idols at their front. To be particularly brutal for a change, given the relatively lackluster look of the cover being the first introduction to the album, I honestly ended up being impressed at how pleasant the music itself ended up being - so perhaps that is yet another lesson for yours truly in not judging a book (or album) by its cover.

9 June 2026 - Ask That God (Deluxe) (Empire of the Sun)

 

 

Release Date: 24 January 2025

Song Count: 14

Duration: 50 minutes, 25 seconds

Rating: 7.2/10

Description: 

 

What happens when two musician friends, one from an alternative rock band and one from an electronic dance project, come together to make music in-between? Apparently, speculation seems to be not needed thanks to Empire of the Sun, a conjoined duo from Australia with exactly this dynamic, whose most recent album we are taking a listen to today. The deluxe edition of Ask That God, released five months after the initial work's release from July 2024, is the most modern evolution of the duo's music coming together where heavily digital instrumentation meets the structure and lyricism from a genre that extends deeper, though any more direct non-pop influences are heavily sanded down in this case. What we have here is a synth pop album with a widely appealing sound that then draws in a mixture of influences.

 

Beats inspired by disco and older kinds of electro tunes accompany equally retro-futuristic sounding synths, digital projections of instruments like electric guitars and sound effects as the tracks envelop one into a breeze light in weight that carries an almost refreshing feeling along with it. Even without straying too far from a certain pop music structure inserted into each track, highlight songs and moments pop up often enough to keep retention, and the vocals taking a back seat when it comes to taking attention keeps a balance with sonic coherence throughout. Though sounding like a selection of music one could easily find playing on mainstream radio, the lyrics seem to express at least a little more than simple platitudes matching the light-hearted sound, instead attempting to reflect on the current zeitgeist in subtle and vaguely worded ways.

 

Neither Ask That God, nor its deluxe version, will take the musical scene by storm and shatter our current understanding of what it means to engage in this medium by any stretch of the imagination. That said, in spite of the "safe" synth pop sound, the album proves to be a solid addition to the Sydney duo's catalogue and a return to form mirroring their earlier works. A perfectly fitting soundtrack to enjoy the summer weather in the northern hemisphere - provided that said weather is actually present at the minute wherever you may be reading from, which it really is not here where I am at - with its cheery, digestible sound and tasteful use of stylistic elements without leaning enough in any direction to alienate anyone. Perhaps just a little bloated from the few lesser interesting tracks, though.

8 June 2026 - MG ULTRA (Machine Girl)

 

 

Release Date: 18 October 2024

Song Count: 13

Duration: 44 minutes, 7 seconds

Rating: 7.3/10

Description: 

 

So, funny story as to why Machine Girl has now appeared twice on this blog: when following along on the recommendation from a friend of mine back in December, they actually meant to ask me to listen to this album rather than PsychoWarrior: MG ULTRA X, and I ended up mixing the two up because of the names being similar. Whoops. Well, I may be around six months late now, but at last I am now correcting my mistake today. Here is a thorough review of the album from a year prior, a later addition to a documented wide catalogue of electronic music that Machine Girl has made throughout the years.

 

On a similar route to their later works and collections, MG ULTRA acts as a prototype or stepping stone to the modern evolution of their sound - major distortion, high amounts of sample usage, a hyper saturation of every moving part that blares in the listener's ear and breaking the norms of music in whatever aspect needed to achieve creativity. The lucky number of tracks here are loud and brazen, unfiltered in their purest form, stimulating the sonical senses thoroughly but also providing catchy hooks that seem to fleet by and leave one to yearn for more. A true showcase of how to push the limits with extreme electronic music whilst keeping consistent grooves throughout, the full sum of songs leads to a listen that especially pays off with added experience to the band's music over time, but are far from difficult to enjoy even when jumping in as merely familiar with the broader genres at play.

 

What we have here is music that can only really be described as rapid, rushing and outright storming, like a hurling wind catching up to every force that it touches - in high BPMs and tightly mixed electronic percussions and samples, the sensation is felt that these tunes really wish to go somewhere. Perhaps overwhelming to the untrained ear that has a harder time keeping up with the pace, the album is one big stream of enjoyment to those more familiar with its general nature, then further providing with intriguing tracks on their own. Machine Girl prove once more with this record of theirs why they are not playing around and why they are highly respected within the extreme niche they have helped pioneer in the musical world.

7 June 2026 - Become You (Indigo Girls)

 

 

Release Date: 12 March 2002

Song Count: 12

Duration: 45 minutes, 32 seconds

Rating: 4.9/10

Description: 

 

Incoming is a duo of Atlanta-based folk rock singers and - fitting to the time of year - queer icons Amy Ray and Emily Saliers making up Indigo Girls, here to bring to us a folk rock album from the early 2000s that they released under their joint project. Become You marks the eighth record within the musicians' large catalogue that they have built up since their foundation in the 80's, and is as country in essence as things can get, both tonally and in part narratively. Channelling the timeless features leading the soundscape of traditional American music, it seems that a sort of structure is constructed with a foundation equally as resistant to the winds of time.

 

Acoustic guitars lead the way for partly slow and flowing, partly energetic and bouncing tracks as Ray and Saliers lend their songwriting and singing talents to be the most prominent connecting thread across the full album. Sonically everything stays within one level, rarely - if ever - wavering from the one particular sound tapestry that is being followed that seeks to invoke the feelings of a highly traditional, passed-down sort of collection of songs. An interesting thing to note here is the structuring and length of the tracks, because though it is largely standard, blunders do exist, such as the track "Bitterroot" ending after only 22 seconds right as it is about to kick into gear - though perhaps this is a problem exclusive to the Spotify version? Who knows.

 

Country music certainly has an appeal that, when hit in a calculated and intended manner, can make its contents feel like no other with its highly analogue, rich and historic vibrancy yearning for them to be sung around a campfire or the like. That said, Become You experiences the indignity of failing to manage any fraction of the induction of these positive emotions, instead being a listen mostly clouded with lack of interest due to the tracks being overly repetitive and uninspired. Few songs managed to even drag any sort of attention onto themselves and break through the strongly permeating idleness of the bulk of the album, primarily the ones of highest energy, and though Indigo Girls are certainly talented performers, this is far away from the greatest example of this being showcased out into the world. One may have to turn somewhere else for that, since in spite of sounding mild and rarely even pleasant, there is not much worth dedicated time to find.

6 June 2026 - FOREVER RR (RAF Camora)

 

 

Release Date: 5 June 2026

Song Count: 30

Duration: 1 hour, 18 minutes, 11 seconds

Rating: 6.9/10

Description: 

 

The second one of the double header approaches, and this time around we are in deeply unfamiliar territory for the project: rap music in the German language. Austrian rapper Raphael Ragucci, better known as RAF Camora, has come out with the deluxe edition of his newest album from last year, FOREVER, expanding his already relatively full album into one of monstrous length at 30 tracks. Thoroughly following along in the footsteps and conventions of its mainstream genre, the album is a dynamic ride all the way through whilst keeping a wide-spanning appeal.

 

With a rap flow that sounds effortlessly charismatic yet nevertheless involved in its lyricism, the vocal performance bleeds into cleanly produced backing tracks that vary in energy. Though the actual contents of what is being sung and rapped about is relatively surface-level, fun references to prop oneself up are thrown in, such as the entire second song "ROSSI" being a nod to a legendary motorcycle racer, as an example. At times the overall consistent pace and atmosphere of it all can stagnate, but there frequently is enough swing coming from a following track to keep the momentum going proper, helped by the shorter duration of the individual songs at rarely above 3 minutes.

 

This is where yours truly shall admit that the inherent genre of this particular work is the main alienating point, as I have been vocal about my disdain for rap music in my native language whenever the conversation comes up. That being said, FOREVER RR does provide several tracks that comfortably reach a threshold of enjoyment in spite of this inherent setback, as the combination of catchy instrumentals and comparatively unintrusive rapping on Ragucci's end managed to win me over at several points. Not a record that will shake up the way I view German rap as a whole by any means, but far from a worthless dive-in, either.

5 June 2026 - I Built You A Tower (Death Cab for Cutie)

 

 

Release Date: 5 June 2026

Song Count: 11

Duration: 38 minutes, 38 seconds

Rating: 7.9/10

Description: 

 

Two albums within my radar released today, and this one had the fortunate grace of receiving the same day review treatment! The other one will arrive at your door tomorrow, do not worry. 

 

A Seattle-based indie rock band, Death Cab for Cutie have been in the industry since the turn of the millennium and released loads of music filled with personality and vibrancy. I Built You A Tower marks the eleventh full-length album within their large discography that spans over almost three entire decades now, and is a formidable addition to the collection. Eleven tracks make up a collection that is highly varied in its individual approaches and levels of energy, showcasing a wide span in which the members' talents are out on display.

 

From faster and cheerier songs to more somber or introspective ones that slow down the tempo more, the full listening experience feels akin to a roller-coaster that keeps one curious to see what follows on the ride. The full flexibility of the melodic yet electric rock genre is used to its fullest potential by inducing all sorts of different moods within every individual stop on the way. Furthermore, though the general sound of it all is relatively approachable and perhaps even "safe" for a large amount of music listeners, experimentation is far from out the window, even in the layer of music theory with "Envy the Birds" having a consistent 5/4 time signature and a fascinating tact as a result.

 

In spite of being a work that may seem more on the mundane end at the surface, it is clear that heaps of inspiration and thought were put into each part of the record, and it all culminates into a result that feels deeply familiar and grounded yet nevertheless curious and creative. I Built You A Tower sums up the modern sound of a band with a rich history and stands on its legs as worth gracing one's ears with and enriching. Definitely one that I would recommend for those looking into lighter shades of rock music.

4 June 2026 - Further Definitions (Benny Carter)

 

 

Release Date: 1962

Song Count: 8

Duration: 33 minutes, 36 seconds

Rating: 6.8/10

Description: 

 

At long last, we have finally got an old-time jazz album in our hands once again! This one is from Bronx-born alto saxophone pioneer Benny Carter from all the way back in the 60s, right when the genre was hitting some of its highest peaks in terms of artistry and popularity. An icon of the musical movement who had an incredibly long-lasting career at over 8 decades, this guy spearheaded the sound of a beloved instrument and arranged loads of pieces over the course of his life, and never strayed from his passions up until his passing in 2003. One of his many, many releases is Further Definitions, an album which he expanded on with additional tracks in 1966 - the version we are listening to today is the original version from four years prior with 8 songs, however.

 

A classically arranged album comprised of 33 minutes of signature jazz-like qualities plays out in one's ears as the saxophones lead the line for pianos, contrabass and percussion to follow. It all flows into a natural, freestyle-sounding stream that finds its own complex melodies and identity as it goes, slotting itself into the well-trodden path of instrumental improvisation. With plenty to sink into and appreciate, the contents provide impressing amounts of musical prowess from all involved whilst sounding bouncy and fun throughout.

 

The primary thing holding back Further Definitions and works of the like for yours truly remains the unfortunate unfamiliarity of the style to my ears primarily trained on much more contemporary styles of music. Nevertheless is it easy to notice the scale of highly respectable work and craftsmanship from Benny Carter and his backing musicians and give it its deserving accolades, as well as the simple enjoyment the tracks bring with their dynamic progressions and such. A solid older album that I wish I had more of a knowing ear for to truly take it in with, but as it stands, still a decent listen all around.

3 June 2026 - Best Day of My Life (Tom Odell)

 

 

Release Date: 28 October 2022

Song Count: 12

Duration: 29 minutes, 24 seconds

Rating: 6.9/10

Description: 

 

Oh wow, it really has been a while since the last time we had a proper star on the front page. One of the most attention-catching alternative pop singer-songwriters of the recent decade, Tom Odell is widely known for a signature melancholy and heartfelt expression within his music, especially the ones that have broken out well into virality and the mainstream, such as his hit "Another Love" from a few years back. This album of his that we're looking at today, Best Day of My Life, marks the fifth one in his discography and follows suit on the style and mood that Odell is known to induce in his works, whilst also acting as an artistic challenge for him. Following a gimmick of only containing the sounds of played piano and him singing with nothing else added in, a limiting artistic prompt was set during the making of its contents, showing a fully new side into the musician's songwriting talents.

 

Short tracks rarely longer than 3 minutes in length provide a swift progression that yet manages to immerse the listener through both sonical and narrative consistency firmly set amongst them all. Odell manages to express the emotions of sadness, disorientation, numbness and deep introspection through his breezing vocals and lets them gently run parallel to the minimalistic and tranquil piano tunes that use music theory to further set the scene. Centred around the themes of depression, suicidality, heartbreak and complexities within interpersonal relationships, descriptive lyricism that then provides memorability through loose repetition draws attention to itself through the confines and nature of the work as a whole.

 

Staying at one aural layer throughout the entire runtime, Best Day of My Life ends up being a record for the feels that sinks into its self-constructed melancholy without lingering for longer than the material in use calls for. Odell's strengths as an artist blare through far more clearly with the stripped down, bare-bones structure of the album and the contrasting enrichment found once scraping deeper than the surface. Plenty of the tracks to blend into one another by the nature of it all, yet distinct and clear motifs setting them apart remain in play and lead to an all around qualitative experience that soothes and speaks to melancholic souls engaging in it.

2 June 2026 - Fortune Teller (Bobby Dove)

 

 

Release Date: 24 April 2026

Song Count: 12

Duration: 43 minutes, 42 seconds

Rating: 6.4/10

Description: 

 

While the focus is laid on artists of all identity-based varieties at the minute given the time of year, here is another that fits the bill: Bobby Dave, a queer artist making contemporary country music with forward-thinking values, and his third and newest rodeo going the full amount of miles, by the name of Fortune Teller. An introspective and narratively multi-faceted work lent by a unique voice and a classic feel, this horseback ride checks every box for what constitutes an all-out Americana experience whilst adding its own small yet impactful twists to the formula. 

 

Primarily led by acoustic guitars and the like, signature to the genre, with electric ones joining along on certain tracks for added energy or emphasis, every aspect of the listen sounds and feels like a modern piece giving a firm nod to music of past times and sticking to the fundamentals as they are constructed and performed. Dove's youthful vocals may at first clash to the listener with the lyrics indicating heaps of experiences, wounding and wisdom - yet they do manage to paint a picture of an up and coming country man either having been through loads early on, or retelling passed-on stories in pursuit of honouring them and passing the essences along. Over time, the authenticity and passion at the core that bleeds into the way everything ends up sounding and being reminiscent of grows into a large-scale effect that the whole album takes on.

 

Admittedly, in terms of special appeal or individuality within the tracks contained, Fortune Teller tends to draw the short end of the stick, as its striking features instead become the feel around it all. It is clear that Bobby Dove put plenty of himself into this album of his own creation, and particularly slower-paced, calmer songs with almost somber sounding undertones like "Not Much of an Outlaw", "Leaving Manitoba" and "Billie Holliday" make the strengths he possessed as a musical artist particularly evident for all to witness. An overall decent country album that serves something slightly altering from the norm amongst its peers, but not one for many returns for yours truly.

1 June 2026 - The Oblivion (Minute Taker)

 

 

Release Date: 29 April 2026

Song Count: 12

Duration: 43 minutes, 40 seconds

Rating: 7.3/10

Description: 

 

Summer has at last arrived (and Pride month with it!) according to the calendars, and what better way to start off this mark than some synth-filled, nostalgia-driven tunes to jam out to? We seem to be in luck in that regard today, as around a month ago, Manchester producer Benjamin McGarvey, known to many as Minute Taker, released his fourth  - discounting the many iterations of so-called "Secret Songs" he released to a subscriber base - and most recent original album, that being The Oblivion. Described by the man running the show as "dark-edged, queer and existential" synth pop, it is an evidently 80's inspired album that goes cosmic and almost philosophical with its surface theming, promising to represent more than its mere broad description.

 

Space-y sounding catchy beats grab one straight into the atmosphere as the tracks undergo a formulaic yet effective progression through their runtime. McGarvey's charisma shines through in his singing performance as well as the interludes of him speaking and addressing the audience, and he accompanies a composition of synths, electronic sounds and occasional saxophones being mixed together into smooth, wavy songs, dance tracks, and frequently both at once. A subtle flamboyance adds the finishing touch to a collection of music that has plenty of melodic and enjoyable moments.

 

Though far from groundbreaking territory in the world of synth music, The Oblivion focuses less on treading particularly new ground with its contents and more on providing an all-around fun time throwing back to older times in the world of music, which it firmly achieves. Minute Taker has loads of presence as the star of his work and brings the momentum forward as he breathes life to many of the tracks in the album - with some falling just short of standing on their two feet and some more than managing. Overall a solid listen with plenty that shines through as highlights.

31 May 2026 - The Scythe of Cosmic Chaos (Sulphur Aeon)

 

 

Release Date: 21 December 2018

Song Count: 8

Duration: 51 minutes, 26 seconds

Rating: 5.9/10

Description: 

 

Wrapping up this year's month of May, we have got another Ván Records album and a metal act with a fascinating gimmick in our sights - Sulphur Aeon, a German blackened death metal band centred around Lovecraftian monsters by the likes of Cthulhu and other horrors beyond human comprehension, with their third full-length release. The Scythe of Cosmic Chaos represents a haunting tale in a format that lends itself better than almost any other for this kind of fictional theme, that being a glooming style of metal music. Sensations of darkness, malice and despair practically blares in every corner of the work, which is certainly an intended effect.

 

Letting active melodies make way or act as an accompanying force to the larger atmosphere being built up, the tunes present here are nothing short of dread-inducing in their nature. Growls and "bleh"s from the vocals set the tone of impending forces looming over the metaphorical world being built, and the looping, distorted grooves that firmly sit and linger add further onto this feeling. It all culminates into one experience that uses the key features of death and black metal to its advantage to set up its biggest anchor point and bring it all together.

 

An ambitious work with plenty of workable themes floating around, The Scythe of Cosmic Chaos promises heaps of potential, and is effective at a lot of its aims from an artistic standpoint. With that being said, the rather monotone progression and less dynamic nature of the album led to a listening experience that grew more tiring and stale relatively quickly, leaning into the cosmic horror side of things well yet struggling to draw much interest into them. Certainly a valiant effort from a band with loads of talent, but perhaps simply not quite for yours truly.