Alison: Lyrically, this track is dreamy and ephemeral like a model shoegaze song should be. It tells a detailed anecdote of when the narrator was on drugs with this *Alison*, but there’s a shoegazey undertone of this relationship being a thing of the past (namely in the final line) although never explicitly mentioned. The instrumental is also immensely dreamy, gut-wrenching, and levitation-inducing. It truly feels like the musical form of being suspended in the air in the most pleasant of ways.

Mid 9.

Machine Gun is all about ‘scapes’ — with which I mean that both the lyrics and the sonics are implemented in ways that create wonderful scenery that’s as indecipherable and ephemeral as it is beautiful. The lyrics create a landscape — one which speaks of drowning and submersion along with a close “friend”; this could be a reference to drugs, alcohol, or music (or all three). The instrumental creates a soundscape — a beautifully fitting amalgamation of phaser-infused and reverb-coated details that surround every corner of the mix in a tear-inducing showcase of shoegazey elements. An especially noteworthy one of these being the fantastically emotive vocals throughout the track.

Mid-High 9.

40 Days: here, Rachel Goswell and Neil Halstead had recently broken up and so the lyrics are a heartfelt depiction of post-breakup misery. There is attachment, desensitisation, and a loving longing for a smile left in the past; honest, simple, and powerful. The guitar work on the post-chorus instrumental section makes this track stand out wonderfully, though that‘s not to say that this cut wasn’t already a giant feat in atmospheric consistency and on-target production.

Low-Mid 9.

Sing has Brian Eno as a co-writer and performer on keys. Moreover, the writing is immensely shoegazey and ephemeral; themes that can be deciphered include loss, death, and others that are consistent with the record’s tendency to create ethereal images. Overall, however, this point in the tracklist absolutely pales in comparison to the rest of the cuts (with the exception of the next one). The mix is cold and fails to be as immersive as it is elsewhere, the composition is somewhat uninspired, and the synth accompaniment never fits well with the band’s performances. There are some quirks added by Brian Eno that, along with the final verse, make this track stand out to a lukewarm extent — though the synths still feel out of place.

Mid 6.

Here She Comes also has Brian Eno on keys. The lyrics show a very lonely and socially detached narrator having a moment of euphoria and warmth when the person he loves comes towards him at the end of the track. There is an overarching tone of Neil Halstead’s breakup-induced grief that is present in the speaker’s disposition as well. This track —again— doesn’t have anything that really moves me all that much in the instrumental department on the other hand. Highlights include the consistent bath of reverb and delay effects, and it can be said that Brian Eno’s keyboard arrangement does act as a fitting accompaniment this time around. However, the composition still remains largely uninteresting in comparison to those outside of this two-song-long set of recording sessions he was involved in.

Low 7.

Souvlaki Space Station details a perspective of genuine anger towards a past significant other. There is a blurry hate divided between the feeling the narrator was left with and the now-gone relationship. Now, this track creates a beautifully enveloping atmosphere once again; virtue of a great bass line, non-stop guitar echoing and a distant though atmospheric mix of Simon Scott’s drum performance. Although it does feel a tad drawn-out towards the end.

Low-Mid 9.

When the Sun Hits continues the themes of breakup pain. It plays with the ideas of past and present, as well as with the progression towards the relationship’s death — namely with lines like “[you] burn so fast it scares me” which doubles as a metaphor for initial infatuation and for gradual estrangement. Additionally, the song insinuates that the problem with this “burn” (i.e. attraction) is its unbearable one-sidedness. And so, yet another moment of focused lyricism is complemented fantastically by an instrumental made up of impeccable guitar work, pristinely shoegazey production, and heartfelt performances courtesy of every band member; truly a wonderful track (and from a compositional perspective as well).

High 9.

Altogether is one of, if not the most, dreamlike lyrical cuts of the record. It’s both a retelling of the last moments of Neil Halstead’s relationship with Rachel Goswell and an expressive denial of this reality with the returning “we’re altogether” line — which creates an evocative and troubled dichotomy. Once again, the songwriting is applaudably complemented by a focused shoegaze aesthetic, tight performances, and consistent production. The guitar effects are the most memorable aspect of the track as they are awe-inspiring and ocean-like.

High 8.

Melon Yellow continues the great lyrical flow and congruency of the record; this time around it reads like a moment of acceptance post-breakup, but with a perceived melancholy and lingering infatuation. Instrumentally, it keeps the aesthetic of all the past tracks; some specific highlights include the vocal melodies and the very enveloping, hypnotic repetition of the chorus — especially towards the end.

High 8.

Dagger digs into the state of the relationship before it ended — and simultaneously after the fact as well, probably. It presents the relationship as a hindering comfort zone in which the narrator is a “dagger” to the other; hurting and obsessively loving them despite remaining together. The instrumental actually takes a slight detour into an acoustic-guitar-driven track; while maintaining a shoegaze aesthetic. This marriage of sonics, along with the vocal melodies add up to a wholly mind-boggling closing track.

High 9.

Some Velvet Morning is a bonus track that won’t affect scoring. This cut is a cover of a Nancy Sinatra and Lee Hazlewood song that makes allusions to Phaedra —a tragic figure of greek mythology— to showcase the protagonist’s very complicated and self-centred attraction to another person. This shoegazey rendition is massively enjoyable as the composition has inherent chemistry with Slowdive’s approach to the genre — and it’s greatly realised as well.

Low 9.