In the Mirror starts off with some decent mixing and arrangements on every instrument. With the bass being specifically fantastic. Lyrically, it’s a really heartfelt and focused take on taking responsibility for one’s own shortcomings (or rather attempting, and continuously failing to do so). It is, however, a bit of a flavourless cut to an extent.

Low 7.

Them That Do Nothing has very enjoyable and brightly arranged sections, and such a good combination of timbres; additionally, great instrumentation and performances. However, it’s compositionally a bit humdrum, similar to the last track. The lyricism is nothing out of this world, but the themes about growing —be it growing tired, growing sick, or growing into an unavoidable and distasteful maturity— are melancholic and touching.

Low 7.

Each Time Is a New Time is quite a groovy and moving cut instrumentally; with interesting riffs and panning, as well as a contrasting structure that changes at about the halfway point. Lyrically, it seems to detail how someone can develop the habit of taking something or someone for granted and asking for patience even after it’s over. It also explores how the pain of seeing something die sparks the interest in trying to make it unique again, just by putting more attention on it.

Mid-High 7.

Measure is a beautifully arranged track that heavily relies on an amicably composed string section. Lyrically, it touches on themes of past dreams and how much impact they can have on us. It additionally boasts a great bass tone and arrangement. It’s quite an inoffensive albeit slightly unmemorable cut as a whole.

Low-Mid 7.

Effortlessly is, instrumentally, really enjoyable due to great performances, instrumentation, mixing and arrangements. The lyrics are a nice analogy-like approach that uses a small conversation in order to talk about being *effortlessly* in the wrong, but also being able to *effortlessly* be better/move on.

Low 8.

Clear Water makes fantastic use of an unconventional time signature feel, and it does so with fantastic arrangements again — this time with the guitars being the highlights. Lyrically it seems to be about crying, taking showers, swimming, etc… — any and all things that involve water and are coping mechanisms for hurtful relationships with unfruitful and damaging dialogues.

Low 8.

Lights Up has pretty evocative arrangements featuring enveloping guitar tones and an appreciably laid-back mood. It features really heartfelt lyrics about the fear of introspection, using light and darkness as metaphors for being with others and being alone — and when left alone with your thoughts. The voices at the end —representing other people— tell the narrator to deal with their pain on their own.

Low 8.

All You’d Ever Need to Say is one of the more conventionally rock-oriented cuts, and it has some great arrangements, other energetic guitar performances/tones, and a contrastingly groovy outro. Lyrically, it seems to talk about freedom of expression in artistry, and how borrowing ideas isn’t stealing since saying what you need to say is more important.

Mid 8.

Let’s Write a Book features what’s probably the grooviest, most evocative, and unexpected arrangements of the album, along with a structure featuring fantastic instrumental breaks between each verse. The lyrics on this one are also pretty nice and interesting; it seems to be someone failing to communicate with someone else, and deciding that trying to write a book might be their best bet to aid this.

Low 9.

You and I is the most straightforward song on the album, but it features some great production and string arrangements. It’s also the most emotional song on the record as well. They approach themes of numbness —and possibly burnout— specifically within a romantic relationship, as the protagonist urges their partner to keep communicating even in moments of struggle.

Low-Mid 9.

The Rest Is Noise is an absolutely fantastic track instrumentally. It has a musical theatre feel for the first half but then it breaks down into a beautiful rock-like groove with great production and mixing. The lyrics seem to continue off with themes of something growing stale, and even painful (and eventually having to let go of it — with the pain that that involves).

Low 9.

Curves of the Needle: What a great transition! This one’s whimsical and features some great instrumental decisions like using a harmonica. The lyrics are a touching reminiscing of a past life when (possibly parents’?) love was more prominent. It is a sad cut that also has a theatre-like inspiration. And the drums sound absolutely delicious. However, the structure lacks a bit of focus and cohesion.

Mid-High 7.

Choosing Numbers features a nice instrumental that seems to be made up largely of everyday objects before picking up the pace and delivering a rhythmic and energetic second half. The lyrics are a sad and touching look at the feeling of losing oneself, previous *measures* (dreams), and passions.

Low 8.

The Wheels Are in Place is —lyrically— a doubtful approach to the topic of free will. Instrumentally, it’s quite a nice, off-kilter use of odd time signatures; with enjoyable vocal harmonies and electric guitar melodies.

Low 8.

First Come the Wish features a pretty powerful riff, and a generally gratifying instrumental; the guitar arrangements being the highlight. The lyrics touch on how previous dreams (measures) are eroded and watered down just by a prolonged existence.

Mid 8.

Precious Plans is a sad look into past passions and a clarity that has since faded. It seems to be directed at a partner (or friend) but it’s broad enough to evoke this feeling in all aspects of life. It’s the most repetitive instrumental track on the album, and it approaches this minimalism very well. Moreover, the ending breakdown is way too short!

Low 8.

See You Later features some nice ambient production and instrumentation as well as some really tight odd time signature grooves. Lyrically, it’s a short and sweet worrisome episode about the future, wondering if someone from their past who they valued will have a place in their lives in the future.

Low 8.

Something Familiar has amazing and jumpy arrangements, panning and performances. It boasts a smile-inducing hook, and really is one of the most energetic cuts of the tracklist; or at least it is for the first half of the duration and then loses inertia, shame. It —lyrically— seems to be continuing on the last song’s themes of wanting to feel secure (wanting *something familiar*) about the future but struggling to find that emotional safety.

Mid-High 7.

Share the Words is one of the simplest instrumentals, but it still features some strong performances and nice ideas; although not the best of the record mind you. The lyrics explore the darker side of a very toxic attraction and/or obsession with someone.

Mid-High 7.

It’s About Time has some of the prettiest string arrangements off of the album, and it also has some beautiful ambient production. It is a great closer and even segues nicely into the hidden track, although it’s slightly drawn out.

High 7.

Louis (the unlisted hidden track) is also instrumental and very ambient-based. Plus the arrangements that go along with the ambient sounds are pretty great. Having two instrumental/ambient tracks close the album is a bold choice but one I can appreciate, even if it goes slightly amiss — it almost suggests a feeling that the dust has settled after all the processing of grief, and there’s still this (beautifully represented) fleeting feeling of something past.

Mid 7.

Repetition is a bonus track that’s in the Spotify version of the album for some reason, I couldn’t find the lyrics anywhere (and they’re kinda hard to hear) and the instrumental is the weakest; the synth on the right ear is also not the most comfortable, and it definitely takes me out of the mood of the rest of the album. It will, however, not be affecting my scoring of the album.

No Score.