Wolfmother seems to start the record off with a narration of a horrible event: the accidental death by fire of someone near and dear to the narrator. Instrumentally, it features a memorable percussion arrangement, a danceable waltz-like rhythm and some great vocal harmonies after the midway point. Moreover, this switch in the middle of the cut is aided by a set of interestingly fitting synths.

Mid-High 8.

Hi Life touches on a secluded attempt to keep life at bay in an act of self-diagnosed un-readiness. This relatable unease is further accomplished by the fantastic instrumental that complements it — boasting heartfelt compositions in an ever-growing structure, embellished by genuine and upfront performances that simultaneously remain dreamy and delectable.

Low 9.

Halalcsillag lyrically continues with this downcast and burnt-out state that the protagonist seems to be stuck in. Moreover, the title (which is the Hungarian word meaning “Death Star”) parallels the “a house of fear” line – suggesting an agitated feeling of entrapment, probably within a hindering household dynamic. Instrumentally, the mellotron-like melodic lines and the vocal harmonies make for an absolutely incredible combination of ear candy; once again, both are explosively introduced in the second half of the track. What’s more, this song feels like quite a magical soundscape, created through distinctive flute-like synths, layered vocals, and a fidgety percussion arrangement.

Low-Mid 9.

A Robbery boasts a bright amalgamation of beautifully put-together piano and acoustic guitar arrangements; which, again, create a rather magical and transporting experience. However, it feels just a tad laid-back in comparison to the more maximalist songs around it. Additionally, the flute solo in the middle is endearing, but it also disappoints slightly due to that forced and promptly cut high note towards the end. The lyrics —which are, again, great— seem to narrate a failed robbery, while maintaining the noticeably depressive cadence in the protagonist’s words. This is metaphorically expanded as the protagonist begins to show anarchist qualities, since they notice the flaws within a hindering system. All in all, it seems to be a critique of mindlessness in the face of authority.

High 8.

We Are Invisible is another first-rate indie folk track with absolutely fantastic performances and compositions. The structure is also incredible and takes the label of “immersive” to the next level — with a spotless balance between the low end and an intricately layered sonic texture. The fantastic lyricism appears to use the state of being underwater as a metaphor for depression. Also, being *invisible* probably alludes to society’s pay-no-mind attitude towards those who are suffering and unable to come out of the water.

Mid 9.

River Sister hints towards the moment the protagonist (probably) first felt encouraged into the sea. Alternatively, it could also be from the perspective of River Sister, someone who is about to become part of the gigantic ocean of people unable to overcome affliction — who now we know are invisible to those outside. Instrumentally, this track is strong, but not as fantastic as others on the record. The piano arrangement and vocal performances are the main reason for this, as they are a bit lacking in flavour. Additionally, the synths toward the end also sound a tad hollow/dry and thus fail to make a fully enveloping atmosphere.

Mid-High 8.

Lost seems to be a result of both the protagonist’s anti-system ideals and secluded disposition; culminating in an alienated headspace in which they feel *lost* due to detachment from the world. Instrumentally, there’s no aspect of the cut that isn’t loveable; although if there’s anything worth highlighting, it’s the main melody in the chorus. Also, the mellotron and vocal harmonies act as excellent accentuators, leading the whole cut to feel truly genuine and filled to the brim with emotion.

Low 9.

Rest is an angered lyrical point from the perspective of our protagonist, who’s now filled with distaste. The others that are in the same turbulent situation are described as “brothers” swimming “against the stream”. This solidarity in the face of societal injustice evokes a metaphor for those with depression, or even with other neurodivergencies. Musically, the drum arrangements and breakdown are highlights within the cut. However, as a whole, the cut remains slightly uninspired and unmemorable in comparison to other songs — even if it is still a strong and enveloping composition.

Mid-High 8.

I Might Float seems to be from the perspective of the protagonist’s optimism, hoping that if they try, they might *float* above water by their own merit — since no one else seems to help. Instrumentally, from the very beginning, we’re greeted by a straightforward guitar riff somehow packed with emotion which sets up the anticipation for vocals, which just happen to enter spotlessly with melodies that are enough to make this song great by themselves. But, of course, we’re delighted by the signature Syd Matters build-up that eventually explodes into a completely enveloping soundscape made up of alluring vocal harmonies and a melancholic piano melody. This simple piano arrangement truly adds a gigantic amount of beauty to the already aesthetically atmospheric ambience.

Low 9.

Hadrian’s Wall could be an additional allusion to the separation the protagonist and his brothers feel in the face of a world that is deaf and blind to their experience — or even existence. Instrumentally, it’s very grandiose and somewhat inspiring. However, despite this set of grand sonics and up-tempo danceability, the cut still comes across with a considerable lack of emotive charge, in comparison at least.

Low-Mid 8.

The hidden track (which actually closes the record) continues with the frustration the protagonist has in the face of lacklustre authorities. Sonically, this song is quite repetitive and almost hypnotic in nature, in an applaudable way. Though I’d be lying If I said that it doesn’t fully pale in comparison to the rest of the record, despite its arguable strength as a cut if it were to be played by itself.

Low 7.

Ocean Soul is a bonus track that won’t affect scoring. Lyrically, it seems like a critique of times of war, or rather the emotional charge associated with them. The lyrics are good, but the themes don’t fit the rest of the record, so it’s good it was left as a bonus track. Sonically, the production elements and melodies greatly build up to a classic Syd Matters climax — albeit to a significantly lesser extent than that which was achieved in the main tracklist.

Low 8.

One By One is a bonus track that won’t affect scoring. Instrumentally, it’s a charmingly playful cut that’s charismatically smile-inducing. It manages to strike an applaudable balance between playful performances and a dreamy atmosphere. The lyrics spout from an admirable decision in theme, specifically for a bonus track: a self-reflection of whether Syd Matters’ lyrics are too complicated — charmingly genuine and a bit cheeky.

Mid-High 8.