15 Step is a deeply poetic, tired ode to recurring anxiety, with undertones of death and romantic pursuit; arguably, a romantic pursuit of life. The line “fifteen steps, then a sheer drop” is suggestive of a gallow and it gives the track apparent dread for a sudden end. On the sonic side of things, the production on this track is truly admirable. The intricate drum section, together with the evocative guitar arrangement is a wholly applaudable marriage of flavours, especially because of the warm guitar tone that ties everything together beautifully. On the second half of the cut, the synths take more of the focal room which, along with the memorable bass work and lush mixing, add a palpable and transporting ambience.

High 8.

Bodysnatchers touches upon —in a heartfelt fashion— a feeling of dissociation and detachment. It comes from the perspective of being trapped inside a physical body due to being forced into an imposed mould; “they got a skin and they put me in” is a line that sums this up quite well. The guitar arrangements on this track range from energetic and euphoric to submergingly atmospheric. The latter, present in the expanding middle section of the song make for a luscious and hard-hitting change of pace accompanied by arguably the most heartaching lyrics on the record. In comparison to this spotless bridge, the more frenetic sections come across as ever so slightly overblown, personally.

Low-Mid 8.

Nude is a morose and introspective cut detailing the numbness associated with not achieving “big ideas” in life. The instrumental complements the lyrics quite well with an immersive and melancholic atmosphere achieved through an amalgam of strings, falsetto vocals, and a protagonistic bass riff. There are also a myriad of other production details that powerfully accentuate the mood. Personally, however, it’s overly laid-back which leaves something to be desired.

High 7.

Weird Fishes / Arpeggi is a cryptic lyrical cut about a powerful allure being juxtaposed with defeat. There seems to be something constantly pulling the speaker in — before developing into an eventual slump, a downfall, and a final escape. This escape could mean anything, though there is a beautiful and clear chronology in the sense that it comes exclusively after “[hitting] the bottom”. All in all, the openness to interpretation is a great quality of the songwriting here. Musically, the drum beat, along with the mindblowing guitar arrangements, delivers a repetitive simplicity that becomes admirably hypnotic. The production on this track is also a force to be reckoned with, especially because of the absolutely pristine mix of layers upon layers of guitars that eventually become a massive marvel to listen to.

High 8.

All I Need is a song dedicated to dependency. There is a lot of neglect in the lyrics, but also blatant *need* — which really sells the idea of addiction within a relationship, despite it being unrequited and unhealthy. Audibly, the synth-bass and drums combination is one that’s somewhat bland at first, though the slow addition of piano, synths, and other production details sets up a calm albeit powerful soundscape. This all concludes in a final breakdown that’s climactic, enveloping, and highly noteworthy.

High 7.

Faust Arp: The title already sets up a couple of references within the song; specifically, to the German legend of *Faust* and the German-French sculptor Jean *Arp*. The songwriting seems to touch upon monotony and a life turned dull. This dreary way of living —if analysed within the Faust tale— could be interpreted as an impactful disillusionment after he sold his soul for material wealth. Instrumentally, this track feels a tad foreign to the rest of the tracklist. The bare acoustic guitar part, along with the somewhat dry vocals make the production come across as overly stripped down, though the string section is still emotive. Moreover, the occasionally doubled vocals and their melodies are interesting ideas that end up feeling messy due to the bland mixing and the empty overall mood.

High 6.

Reckoner seems to be a critique of the track’s subject: the Faust-like *reckoner*. More specifically, the sentiment behind this criticism seems to be that the reckoner’s worries are placed on superficial and material conditions, thus the line “you can’t take it with you” alluding to how riches don’t stay with you beyond death. In light of this, there’s also an urging to move past superficiality — arguably the reason why the song is “dedicated to (…) all human beings”. On this cut, the mixing and sound design of the percussion section in its entirety is absolutely stunning; namely because of how fantastically unique it sounds. This tone is something I can only describe as a wondrous marriage between crisp and lush. Moreover, the vocal performances are stunning and boast a meditative chemistry with the rest of the instrumental; all in all, making for a truly submerging experience.

High 8.

House of Cards is a not-all-that-fitting song about extramarital relations, with a reference to swinger key parties. It’s honestly quite weak and sticks out like a sore thumb within the tracklist — along with “Faust Arp”, admittedly. This is also the case instrumentally, where the compositions and performances are disappointing compared to those boasted in the rest of the record; specifically, they’re slightly humdrum, personally.

Mid 4.

Jigsaw Falling Into Place features very interesting lyrics about two people eyeing each other at a party. Admittedly, it’s more than that, as it’s a new approach to the pain and anxiety explored in the rest of the record; amalgamated with feelings of lust and love for another person, which end up in legitimately disappointing false hope. Potentially, this was a “big idea” that was destined not to happen. On another note, the instrumental combines a fast-paced acoustic guitar arrangement with a wonderful mix that incorporates the bass line greatly, leading to an immersive and atmospheric low end. Along this, the drum section and vocal performances also add merit through their respective dispositions of passionate and fiery delivery.

Mid 9.

Videotape is an inexplicably optimistic lyrical cut with the cadence of both a suicide and a love letter. The constant mention of death is juxtaposed with the awe the speaker feels for their “perfect day” — seemingly concluding the whole record with a silver lining to the angst and misery present throughout. Instrumentally, this track has applaudable chemistry with the lyrics’ melancholic emotion. From the vocal performances to the piano arrangement, everything is absolutely dismal; interestingly, contrasting with the more joyful perspectives presented. Additionally, the production here is lush and transporting once again. The layers of vocals and chaotic drums come together to accentuate the morose albeit blissful atmosphere.

Low 8.