Brianstorm is a really fun lyrical description of an unlikeable guy, *Brian*. He’s one of those people that truly leaves a mark on anyone who meets him, as he seems to be the epitome of someone who chases these “favourite worst nightmares”. Instrumentally, it features a fantastic drum arrangement that is energetically complemented by the rest of the hasty guitar arrangements and precise, electrifying performances.

Mid-High 8.

Teddy Picker: the title is a dysphemism for a claw machine game. It deals —through playful and creative lyricism— with the idea of being frothing at the mouth to achieve a fame ultimately made of vapid nothingness. It also doubles as a general critique of the music industry’s needs, as well as the people involved in it. Moreover, it boasts some simple albeit greatly enjoyable riffs filled to the brim with energy. The way in which the main riff is occasionally played by everyone in unison, only to be then switched between the bass and guitars to let the others add additional melodies is a compositional decision that keeps the whole track fresh.

Low-Mid 8.

D is for Dangerous seems to describe someone who is madly, pathologically in love; to the point where this love interest must be warned of their obsession. However, it’s made clear that it isn’t actual love, but just a fixation — a favourite worst nightmare. This cut is a strong one all-around, with more showcases of tight performances and general togetherness. Also, the bass line is arguably the focal point of the song because of how moving it is, complemented by a fun and energetic disposition of backing vocals and electric guitar accompaniment.

Low-Mid 8.

Balaclava is a pretty great lyrical point that employs juxtapositions between infidelity and a robbery/heist in order to describe the angst of an affair. Namely, the line “Are you pulling her from a burning building or throwing her to the sharks?” precisely expresses this ambivalent worry; all the while, the listener knows it’s the latter due to the album’s concept. Audibly, this is another highly energetic set of in-your-face arrangements, carried out powerfully under solid performances and a clean production — albeit not overly so.

Mid-High 8.

Fluorescent Adolescent is about a middle-aged woman who slowly stopped giving importance to her sex life as she grew older and now looks back in melancholy. This is the only point on the album where the protagonist is not portrayed in a negative or afflicted light, instead being quite empathetic and even sex-positive. Also, it shows the inverse case of when spontaneity is given no importance, rather than too much. Moreover, it boasts a change in sonic direction, opting for a more fun and easygoing instrumental without losing the rowdy inertia of previous tracks, however.

Low 8.

Only Ones Who Know explores similar themes to those presented in “Teddy Picker” — ones of being overly attached to achieve fundamentally empty things; having a delusional longing to get somewhere just for the sake of getting there. In this case, it has the nuance of being about a relationship, with the line “Juliet was just the icing on the cake” capturing the themes of the song quite well. Sadly, these lyrics are not enough to be a saving grace to what is an out-of-place, disappointing, and humdrum song. Although some reverb and other effect-heavy guitars are somewhat atmospheric here, the track remains mostly forgettable.

Low 5.

Do Me a Favour is a really interesting approach to a breakup song because it’s written from the perspective of the person who’s in the wrong, and who is trying their hardest to be absolved of responsibility. They do this by trying (and failing) to find flaws in the ex-partner in order to shift the blame; basically, being emotionally irresponsible to the very end. These saddening and simultaneously witty lyrics, along with the great, tom-heavy drum arrangement and rock-solid, unmovable bass riff come together to make a strong track. This is without mentioning the abrasive and powerful breakdown, ending the cut with a punch.

High 8.

This House is a Circus is a showy summing up of the themes this album is about. More specifically, it’s a creative exploration of how people can succumb to enduring their worst nightmare because of the thrill and escapism created by addiction (in the form of fame, the feeling of winning in gambling, etc…) Additionally, it’s done over an electrifying and euphoric instrumental that’s strong on all ends. It might actually be the most boisterous and vigorous tack on the album actually, which also means it’s a tad overblown at times.

Low-Mid 8.

If You Were There, Beware is a pretty downhearted look into the horrible experience of being at the receiving end of paparazzi culture. An ex-girlfriend (it seems) is being pestered to the point that their previous partner now regrets the relationship for what it caused her to go through. Instrumentally, this track has yet another set of amazing guitar arrangements and memorable riffs. This time around, the band holds back a bit and reserves the more explosive performances for specific sections. For example, the grand breakdown, which is split in half by a mellow and intimate bridge. All of this with an evocatively groovy drum performance to top the whole cut off.

High 8.

The Bad Thing takes place during the moments leading up to an affair. Although this doesn’t end up happening, it’s still a rough exploration of the tendency to lean towards immediate gratification even when “there was something to destroy”, i.e. a relationship. Audibly, this cut opts for a more uppity direction, one which is as dynamic as it is engaging. Additionally, the backing vocals are worthy of note along with the accompanying guitar melodies, which are intricate and enjoyable.

High 8.

Old Yellow Bricks explores the album’s themes of irrationality with a narration of someone wishing to run away from home just for the sake of running, without a real objective in mind. By the final line, they have realised this as an error, however. Sonically, we are treated to some forthright vocal arrangements and evocatively rowdy performances. There is little deviation from the main riff —a strong one, to say the least— except for the calmer and more candid chorus.

Mid 8.

505 closes the album up with denial in the face of dead relationships. More specifically, it describes the vicious cycle between achieving a fleeting happiness and the uncontrollable urge to achieve it again — even if all that beckoned the protagonist forward was a simple figment of their imagination, something of what once was. Compositionally, it features an inspirational breakdown to close the record on an admirable note. However, the first half of the song is a tad middling and not all that impactful, even if it’s meant to set the tone for an unexpected burst.

Low 8.