Levitation comes across as an invitation to escape from both the perspective of a lovestruck lover, and from the perspective of the band itself — welcoming the listener into the experience of tuning into the album. This lyrical decision already makes for a great opening track, introducing the dreamy adventure that is to follow. Instrumentally, it also follows suit with its fantastically dreamlike disposition. The mix is submerging, the vocal performance is silky, and the composition is aptly hypnotic.

High 8.

Sparks is quite cryptic, though it’s consistent in creating imagery of dissipation; namely, descriptions analogous to the fleeting and momentary nature of *sparks*. Through this, the band urges the listener to turn small sparks of passion into reality during the outro of the track. From a musical standpoint, this cut once again delivers transporting sonics, from the distorted guitar melodies to the organ-like synth accompaniment. All of this is tied up within a (positively) soaked mix that fittingly accentuates the melancholic mood.

High 8.

Space Song explores the speaker “fall[ing] back into place” into an emotionally secluded post-breakup sadness. The song also seems to have words of self-empowerment and admiration for passion — in a way accepting the sadness while affirming that love still lies within. Sonically, this track is another beauty. It’s filled to the brim with great melodies, production elements and ephemeral atmospheres. Moreover, the song also has a cleaner (and safer) overall feel compared to the previous couple of tracks.

Mid 8.

Beyond Love continues with the post-breakup themes, keeping the anger and sadness while establishing a palpable uncertainty present after the relationship’s end. This ambiguity seems to create a desperation to know what lies *beyond love* now that it’s over. Beyond the lyrics, the dissonant guitar arrangements, enveloping composition, and ambiental production are highlights within this great track. The chorus is also beautiful with the bright, decorative guitar melodies and layered vocals, though there’s something unfortunate going on with the latter. They seem to have a troublesome mix that leaves them sounding somewhat obnoxious in stereo.

Low-Mid 8.

10:37: A possible interpretation of this one is that it takes place before a breakup, when there’s a moment of realisation that the relationship has already died — the most striking of the images presented being the “dark thunder, […] soaring” above the couple, presumably waiting to bring upon a thunderous end to their connection. The line “house made of dawn” also evokes a feeling of impending and inevitable closure. Lyrically and musically, this cut is not as strong as previous tracks. Instrumentally, it’s lacking in probably every department and the refrain comes across as cheesy.

Low 6.

PPP is an acronym for “piss poor planning”. The phrase is used here to refer to the disappointment that the narrator feels regarding their own marriage. It also acts as a poetic reconsideration of the normalisation of marriage. The instrumental has amazing chemistry with the lyrics, with its painfully melancholic synth work and ‘grand finale’ structure. This chemistry, along with the admirable compositions, wonderfully submerging production, and absolutely massive breakdown make for a fascinating dream pop song.

Low 9.

Wildflower seems to be a statement of companionship, with somewhat of a dismissal of anything else outside of it. It’s a cryptic poem in the second person with a blatant passion for connection. Instrumentally, this track is focused albeit too straightforward; there is nothing that makes it stand out all that much. This sadly leaves the track feeling a tad bland or unfinished even.

Mid-High 6.

Bluebird: here the Bluebird seems to represent a nuanced marriage between hope and profound sadness since it’s leading the narrator to “the gallows”. The way in which they conclude the adventure of following this bluebird is through the acceptance of constant change during the song’s outro. Audibly, the metallic ‘hit’ substituting the hi-hat, and the melodies —both vocal and guitar– on the bridge are greatly enjoyable. However, outside of the bridge, the rest feels slightly hit-or-miss or overly laid-back.

Mid-High 7.

Days of Candy is a beautiful depiction of fleeting times. The painful aftermath of a moment becoming a memory is explored with the staple elusive lyrical style of the band. This narrative of how little good days can last is a nice place to leave a bittersweet album at. Additionally, the choral approach to vocal harmony is a pretty accompaniment to Victoria Legrand’s silky performance. In terms of structure, the track opens up with a loose mood that begins building up into a fascinating dream pop soundscape, introduced by a stunning tremolo synth melody.

Low 9.