Prelude is a nice opening track! The main melody, as well as the boomy yet dynamic details, make for quite a relaxing and dreamy introduction.

Mid 7.

Inhaler is a relatable cut in which the narrator begs for space, probably from a previous partner as suggested by the “it’s a dead-end road for you and me” line. Instrumentally, on the other hand, the atmospheric feel of the last track is undone in a distracting and irritating way. Although, compositionally, the cut is rather evocative in its high-energy approach, the guitar tones and mixing leave the song feeling simultaneously overblown and drowned, somehow. Moreover, the performances are a saving grace as well.

Mid 7.

My Number is a nice moment of danceable pop-leaning indie rock which seemingly touches on a slightly superficial relationship at a party. It’s recognised that neither party is looking for anything serious, which fits with the simple and fun direction this cut took. Moreover, The vocal melodies and plucky guitar tones are enjoyable throughout and go together pleasantly with the lively drums arrangement.

High 7.

Bad Habit is a self-conscious and self-aware moment where the narrator reflects on where they stand: as someone else’s *bad habit*. What’s more, It’s quite candid and emotionally open, with expressions of feeling like a burden and a passionate desire to change. Instrumentally, it takes a sleepy and ballad-like musical direction. It’s beautifully bright and rich, although it begins to feel a tad one-dimensional and long-winded after a while. Additionally, the dreamy and somewhat “submerged” sonic concept works quite well this time around.

Low 8.

Everytime seems to touch on the escapist desires of the speaker, and their need for exploring new landscapes while simultaneously alluding to a loving relationship. Instrumentally, the absolutely soaked mix feels, once again, rather fitting as it creates a loveable atmosphere for the verses to charm and relax the listener. Having said this, it’s not all that apt for the chorus, since the climax it could otherwise have been instead falls short and remains mild.

Mid-High 7.

Late Night touches on an emotional distancing eating away at the narrator, who finds solace in newfound “love” and the constant presence of their “Mama”. In all honesty, these lyrics are bland, something which is also carried over to the sonics. The composition is underwhelming, as is the hook, which leaves much to be desired. It’s still a dreamy and satisfying cut overall, but it’s by no means memorable.

Mid 6.

Out of the Woods is an emotive climax in which the speaker finally escapes all of their hardships, although with some nuances. The line “in my head now, all alone now” for example, suggests that some trouble was addressed by the use of emotional desensitisation. This interesting songwriting, however, is not enough to distract from the audible side of things, where the song proves not to be as attention-grabbing as other points on the record. Despite being a tad humdrum, it does feature some pleasant percussion arrangements, as well as guitar and marimba performances that emotively add up, though not enough to make up for the compositional shortcomings.

Low 7.

Milk & Black Spiders seems to be an ode to human relationships, and them being what makes life worth living. However, the title is a reference to the distastes and phobias of band member Jack Bevan, which makes the lyrics have an elusive, subversive, and ironic undertone. Conversely, the title could be a reference to everything the singer has “been around” to reach an optimistic conclusion. Moreover, the production of this track is wonderfully enveloping, something which is greatly complemented performance-wise. The repetitive hook and atmospheric passages are both enjoyably fitting and are accentuated by the string arrangements, featuring both plucked and bowed melodies. What’s more, the powerful eventual breakdown of the song is a grand conclusion to it, one that incorporates a beautiful swell of strings and an echoey guitar riff.

Low-Mid 8.

Providence features heartfelt lyrics of mortality in the face of animal nature. Here, being human is described as an animal trait as a way to close the gap sometimes created by our hierarchical complex regarding nature. Sonically, the cut is a danceable experience that is able to combine energetic performances without breaking the immersive ambience. Also, it features an interesting odd-time signature riff. Otherwise, the song is somewhat middling and remains unevocative, since not breaking the immersion is not the same as being a complementary fit.

Low-Mid 7.

Stepson is an openly honest moment of realisation in which the singer acknowledges their lethargy, and how difficult it is to keep going, “step by aching step”. In agreement with this, the instrumental uses a highly distorted snare tone and recurring finger snaps that combine into a similarly tired and hypnotic ambience. Moreover, there are some more string arrangements that make this track all the more enveloping; especially, by virtue of the moody cello accompaniment.

High 7.

Moon: Here, the lyrics are a bleak narration of the downfall of nature. This suggests that the album ends in a note of defeat, with an unsettling calmness and acceptance in the last verse. This combines well with the whimsical and intimate production and harmonic-using guitar arrangements. Despite all of this being likeable, the long-winded and uneventful character of the cut does bore considerably.

Low 6.