Hellfire comes across as a morose and euphoric episode regarding the frustration caused by the constantly deteriorating mass that is the human body; with lines that add a slight and beautifully fitting comedic seasoning such as “a limp useless prick”. Instrumentally, the absolute chaos formed by the off-kilter pianos, the more orchestral string arrangements, and other miscellaneously added instruments theatrically complements a perfect delivery courtesy of Geordie Greep.

Mid 9.

Sugar / Tzu begins a tad gimmicky with the use of “February 31st” as a world builder, but the story of a murder performed by a child being used as an exposeé of human vice is a solid read for sure. It’s an example of what this record does so right: very visual storytelling. Instrumentally, this cut has an absolutely mind-blowing structure. From the beautiful sax intro, which contrasts with the energetic explosion of the memorable fast-paced riff; to the fantastic bass arrangements in the more spoken word section — and throughout the whole song in full honesty. Finally, the grandiose outro concludes this rollercoaster quite greatly.

Mid-High 9.

Eat Men Eat features quite a fleshed-out, metaphoric, and alluring story of two men in a relationship destroying a mining facility. It contains many possible meanings, one being the viciously lucrative tendency of human nature; due to how the wine is made of enslaved humans’ stomach acid — a stark image for sure. Another meaning possibly embedded here comes from how the protagonists ignore the homophobic disposition of The Captain, painting a positive image of how their escape is more than a literal one. Moreover, the curse placed on them at the end adds nuance and continues the pessimistic nature of the record. Audibly, the transition into this track is absolutely perfect, and the change of mood is quite a welcoming one. The intimate bass and vocal performance towards the beginning is wonderful ear-candy, and the subsequent sections contrast in a highly evocative manner as well.

Mid-High 9.

Welcome to Hell tackles misogyny, painfully toxic masculinity, racism, and —mainly— ableism. It’s a cunning critique of the culture around fake soldier worship, used to brainwash soldiers into submission; eventually, resorting to physical punishment when it fails. There is really shocking imagery throughout, as well as a crude albeit admirable lack of a silver lining by the time Bongo gets discharged. Otherwise, this track is less varied in musical ideas and dynamics, coming across as a more straightforward full-blast exposition of energy, dissonance, and loudness — and in quite an enjoyable way.

Low 8.

Still seems to be a simple breakup song at first, but there are interesting allusions to a more literal interpretation. The “ship’s been sunk in the bay” line could actually be referring to a disaster that leaves the protagonist with no future. The bargaining they go through could be them, clinging to life; while the “Obviously Visiting Arena” is maybe referencing how all soldiers are sent to their death. It might be a stretch, but what can be definitely said is that the openness to interpretation this track has is quite alluring — mostly due to its simultaneous simplicity. Sonically, the absolutely unexpected shift to folk is, somehow, an admittedly fitting left turn. And as if this wasn’t enough, the midway point marks another emotional detour into an even more laid back, acoustically driven ballad — and quite an aesthetically calming one at that. Moreover, although I do find the first half of the cut fantastic, it does slightly outshine the second; additionally, the dissonance being used as a transition between the two is a slightly needless and distracting decision in my opinion.

Mid 8.

Half Time is quite a funny allusion to black midi’s alter ego, “Orange Tree Boys”, and it helps pick up the pace once again.

Mid 8.

The Race Is About to Begin is another highly detailed narrative that re-introduces Tristan Bongo. He’s shown gambling for the first time — a decision he will later come back to. As the song progresses, he reflects on the possible non-existence of a higher power, the horrid state of the world built throughout the record (which also subtly turns it into a greatly achieved concept album), and his own loneliness. Overall, it’s quite a saddening picture of how an almost enforced PTSD turns into addiction, vice and an overwhelming cynicism — eventually getting to a state where life and morals are no longer discernible due to this overly indulgent disposition. Audibly, this track has quite a bit of emotional variety as would be expected of the longest cut on the record. The powerful intro eases into a couple of calmer breathing rooms, which eventually build up to a fast-paced almost-rap-like verse by Geordie Greep; which painfully complements the stark lyricism, and also happens to be the most incredible section of the song. Finally, the soothing arpeggio-ridden outro melancholically closes this —slightly long-winded— rapid-fire; although it does so in a not-so-evocative way that’s slightly humdrum compared to what came before it.

Low-Mid 8.

Dangerous Liaisons is a beautifully entertaining and well-written narration of a “farmhand” being coerced into murder by Satan. Given the themes explored in previous tracks, this could double as an allegory for the human-less nature of military recruitment. For this track, every single sonic element is used to accentuate the narrative nature of the lyrics. In an absolutely impressive way, it also boasts quite a bit of very evocative jazz rock influences that make the cut all the more unique and enjoyable in the story it tells. Additionally, the tamer parts of the instrumental have a specially noteworthy chemistry/contrast with the more high-energy counterparts, with delicious passages utilising piano and woodwind sections to help narrate what is arguably the best story of the record.

Low 9.

The Defence: here, the subject of the song uses the lucrative nature of a brothel to justify the objectification and mistreatment of the women employed there — claiming that if people are buying, then it must be their fault. There are also allusions to how the protagonists think he’s the *defender* of these women, keeping them from living a worse life — needless to say, this is just another case of self-deceit. All in all, this track acts as an exploration of the self-brainwashed psyche of a person filled with vice. This time around, the instrumental is quite reminiscent of musical theatre, making this quite a unique experience. Moreover, this track feels a bit tamer in approach than other more grandiose tracks off of the album, although it still delivers an applaudable set of undeniably great performances through this more intimate and appreciable approach.

Low 8.

27 Questions introduces the character of Freddy Frost, who along with his many questions acts as a symbol of humanity’s inquisitive nature. Seeing as he is seemingly very old and experienced, these questions also suggests that this is a person of wisdom — wisdom that is relentlessly laughed at, even in death; closing the record in bleak nihilism and carelessness. Structurally, this cut —once again— impresses in its very narrative progression, constantly using dissonance in order to tell a story; a device that is enjoyable throughout. By the time Freddy Frost comes onto the stage, we are once again treated to quite a theatrical change — and a gigantically charismatic one at that. Moreover, this song concludes with a fantastic re-introduction of vice represented through more dissonance and abrasiveness as Freddy Frost begins to die and the audience commences their laughter.

Low-Mid 9.