only shallow has absolutely stunning guitar work, boasting an overpowering main riff and enveloping walls of strumming and distortion when needed. Additionally, it’s a great lyrical depiction of the feeling of sleeping alone, having a fleeting and *only shallow* connection with the memories of a past lover. Overall a beautifully intoxicating, euphoric and energetic track.

High 8.

loomer is more proof of Kevin Shields’s fantastic guitar work, especially because of how he nails extremely evocative, wailing tones. This song alludes to childhood happiness and juxtaposes it to a descent into loneliness as you mature.

High 8.

touched is quite a sombre instrumental interlude with a melancholic overtone. It does its job as a palette cleanser greatly, using drum and synthesiser timbres that nicely fit the shoegaze soundscape. It also introduces a pitched-down version of the main riff present in “i only said” — a nice touch of continuity.

Low 8.

to here knows when also has themes of a sexual encounter, explored with elusive lyricism. Instrumentally, it’s another beautifully melancholic and shoegazey track — although not to the mind-bending extent of the highlights.

Low 8.

when you sleep has one of the best riffs of the whole album; immediately recognisable and stupendously memorable. The lyricism talks about a past lover, and it fluctuates between reminiscing and spending time together. It’s as if the protagonist was stuck between the past and a relationship-less present.

Mid-High 9.

i only said has another fantastic riff introducing the song. Lyrics seem to suggest a timeless (and shoegazey) longing for someone; it’s also the song that hints the most towards the actual moment of the breakup. The verses are not as strong as the main riff sections because of the low mixing on the vocals and the abrasive guitars, but it’s still a great track.

Low-Mid 8.

come in alone is a very immersive listening experience, with very nicely mixed vocals and unconventionally enjoyable guitar riffing. The lyrics are like a mermaid’s call, telling the other person to “let go” of the past — but this mermaid is also flawed. It’s either the previous protagonist asking the ex-lover to come back, or asking a new person to come into their life in order to get over the first person. Again, very ephemeral, shoegazey, and purposely inconclusive.

High 8.

sometimes is a dreamy longing for the past partner, but there seems to be a third party involved. Maybe there’s a rebound, or maybe it is just two people after all; it’s all enjoyably cryptic. This instrumental is one of the most enjoyably minimal; although it boasts a beautiful chord progression, admirably enveloping guitar tones, and a fittingly melancholic vocal performance.

Low-Mid 9.

blown a wish is one of the most drone-y and dreamy tracks; which is saying a lot. The lyrics seem to be about imagining a past relationship, and also wishing it to begin again. The “i’ll be the death of you” line suggests that the relationship won’t end easily, as one of the partners is overly attached. Also, the vocal riffs by Bilinda Butcher are very soothing and are beautifully accompanied by one of Kevin Shields’s most metallic and immersive tones yet.

Mid 8.

what you want has one of the most abrasive and enjoyable instrumentals on the record. Compositionally, it’s also one of the best and most energetic tracks, but it also boasts a calm outro which really nicely contrasts with the rest of the song. Lyrically, it seems to be about NOT being able to let go; this time there are, again, some possible indications of a third party.

Mid-High 8.

soon is the final track and it has some hip hop-like drum and bass patterns, as well as some nice melodies. Moreover, those mellotron-sounding arrangements are very beautiful and atmosphere-filling. Lyrically, it’s the most aggressive song and the one that touches on not wanting to let go the most.

Mid-High 8.