Donkey Show begins with the image of an all-encompassing sun casting an overbearing morning on the speaker. This is, in turn, used to juxtapose a painstaking obsession —with a palpable sexual charge— between the singer and a man they’ve fallen for, even if just superficially. This sexual roughness is paralleled by metallic guitars which deliver jangly riffs along with a distorted and aggressive drum performance. This all comes together into quite a powerful and gritty track to open the album up.

Mid-High 8.

Mosquito: here, the sexual connotations are graphic and in-your-face despite the adorned lyricism. Additionally, the protagonist claims to “want this life” of sexual freedom and erotic exploration. This is carried over to the instrumental as well, with copious amounts of moaning accompanying the abrasive sonics. However, this time around, the aggressive tones and performances are even more hostile. They are left to shine as the arrangements become simpler and one-dimensional, though not in a hindering manner. The riffs are direct and hard-hitting, and the melodies as a whole are also repetitive; though due to this, the guitar tones and desperate vocal delivery are allowed more focal room.

Low 9.

Crossing Guard is a rather poetic and intricately written track. There are subtle references to clubs —namely, the strobe lights— which is something that has been seen before. However, the sexual, party-driven feel of the cut is now also tainted by an allegoric *crossing guard*, helping the speaker cross the river Styx into a sentimental death. Instrumentally, the approach here is a wholly enjoyable execution of what I can only describe as a marriage between electronic house and industrial dance-punk. This slowly becomes more and more laid back until the last minute and a half becomes a hypnotic beat with a repetitive bass adorned with beautiful swells of that great and metallic guitar tone; eventually, and slowly, building up the tension for a perfect transition into the next cut.

Low 9.

Slate is a powerful confession of loss of oneself, as a continuation of the previous song. Here, the painful lack of reciprocity leaves the singer’s identity “bleeding over” as they slowly become their partner. Moreover, this cut immediately begins with a fantastic transition from the last song, following it with strong and abrasive guitars that continue to euphorically accentuate the candid and morose vocals. Also, I find the explosive buildup that shuts down into a foreboding outro worth noting.

Low 9.

Divers portrays how the speaker is able to fleetingly find satisfaction and happiness but admits to repeatedly doing so in outside factors, like romantic partners. This audible detour into a guitar-volume-swell ballad is complemented by the bass drum inclusion which is brief though heavy and grand. What’s more, there is a leisurely buildup which eventually leads into a more ambient second half. Overall, every idea here is very appreciable, but the track lacks direction as a whole and leaves a tad to be desired, personally.

Mid-High 7.

Amaranth goes more in-depth into imagery of feeling lost, as the protagonist is waiting for a “siren” and a “spotlight” to find them. Also, the previous pain felt begins to burst into aggression towards the relationship, as the destructive expression of the singer’s anger is represented by the aftermath of a fire. Audibly, this acts as a return to the energetic dispositions of previous points. Once again, the guitars are nicely jangly, as well as eerily bright. Compositionally, the track has contrasting sections that flow nicely between each other because of their common factor: that inexplicably beautiful metallic flavour.

Mid 8.

Pure Mode: here, the scorn just keeps building up, eventually arriving once more at hostility. This time, this is explored through a dangerous and almost primal *pure mode*. Sonically, the simplicity is maintained; on top of this, the guitar work and hard-hitting percussion are quite threatening this time around. Moreover, the cacophony of harsh guitars is perfectly mixed in a way that truly sells the songwriting’s menacing tone.

Low 9.

Maria emotively details the aching loneliness that has been built up in the face of the lifestyle previously detailed. Namely, it’s shown how, within the relationship, the protagonist is physically close and corresponded but remains fundamentally and emotionally alienated from their partner. Instrumentally, this cut reintroduces a deliciously dissonant and high-pitched guitar work during the verses, only to undo this for the piercingly energetic chorus. Additionally, the bridge boasts a stunning melody that balances the abrasiveness out in a commendable way.

Low 9.

Sleepless employs beautifully descriptive songwriting to create a landscape ridden with gore. This likely acts as an impactful metaphor for the death of the singer’s relationships, and their own continuous loss of direction and control. In musical terms, the feel of this song is, once again, rather atmospheric. The foreboding and dark guitar arrangements have an emotive chemistry with the intimate and heartfelt singing, which slowly begins to turn into powerful albeit distant shouting. Special mention must go out to the outro due to its harrowing buildup into a cold and barren nothingness.

Low-Mid 8.

Sun In re-introduces the blinding sunlight of the first cut. What this means is open to interpretation as, initially, the songwriting seems to depict a poetic revisiting of an undone relationship. This is admirably painted as a landscape of memories, where the sun acts as a cleansing symbol of clarity — with songwriting that is nothing short of applaudable. On the other hand, the cyclical nature could speak to the recurring or even inescapable quality of the protagonist’s patterns. Additionally, this track probably has some of the best vocal performances on the record; especially, because of Cole Haden’s silky falsetto. On top of this, the shimmers of high-pitched tones, and intimate guitar strumming make for a charming and melancholic change of pace for this fascinating closer.

High 9.