The title track opens things up with a mid and high pitched lead vocal over a rolling backing of synth and drums, all of which could be the intro to many an eighties pop hit, but then this immense burst of electric guitar comes in and kicks the song into an altogether different dimension, as the band drives ahead with added bass and violin undercurrent, still managing to sound like a contemporary answer to Depeche Mode, as the track surges forward with guitar ablaze before settling down into this solid undulating rhythm as the lead vocal flies forward and still sounds like a lost Depeche Mode classic, but now much more up to date. There follows a section where the vocal duels with itself over the surge of a backing before the song then returns to its soaring skywards verse structure as the band spiral upwards and a wave of huge proportions lwed by massive guitar riffing, bursts of synth and violin plus that driving rhythm, see the track out on an instrumental ball of fire. “Now Is A Fine Time” bursts into life with a lone guitar riff as the band crash in with upfront violin leading the way on something that sounds like a meeting between The Goodnights and Curved Air (obscure '70's reference!!). But then the vocalist comes along with assured drive and delivers the song over this surge of sinewy violin, solid guitar work and crunching drums. Although there's no obvious chorus, with the addition of harmony vocals on the verses, allied to such a strong musical backdrop, the whole thing is served with passion and purpose to come across as one giant hook, carrying you along in its wake. Dynamically strong and flies to the skies, it's a great slice of modern indie where the addition of the violin gives it a whole new twist. “When Darkness Swallows” is a storming surge of a number as another huge sounding band performance takes hold, the vocals still with that distinctly eighties sounding delivery in parts, as the song alternately broods and erupts, cleverly arranged to provide rich musical variation with rock cohesion and eighties immediacy from the surging guitars, delicious high-flying violin and rock solid rhythm section, with the result being a truly immense sounding song. “The People Do Ugly Things” is, initially, a more sedate sounding track, still rolling along on solid bass and drums foundations, but this time with ringing guitar under the yearning vocals for a couple of verses. Shortly, however, a fiery lead guitar break ensues followed by a soaring violin line, then the two combine to give this wondrously contrasting musical meeting between beauty and the beast, the beast ultimately winning as a burst of lead guitar riffery takes things back down to earth, finally hitting the ground, segueing seamlessly into “What Matters Will Emerge” as the violin takes over and provides a gorgeously emotive passage over gentle guitar backing. The vocal appears, this time in a more ballad-style mode over the delightful but stirring guitar and violin backdrop, deep bass adding a bit of bottom end strength. This pushes forward, gradually building until the drums arrive and the track takes on an almost gently anthemic nature, only then for the guitar work to strengthen and the whole thing starts to climb to climactic heights as you have a rethink and decide that maybe this is the best track on the album, its length no barrier to the fact that it's a thing of immense and long-lasting enjoyment. The track just gets higher and higher as the vocals fly above the solid backing, until the violin then takes the lead over chiming guitar, as a burst of rhythm guitar fire then comes back and the song climbs ever higher. It's absolutely fantastic and, combined with the previous track, forms a sort of anthem that will never date. I should add that there is a hidden track but it's completely throwaway and just a piece of fun for the band and pretty painful for the listener. But, that aside, this is great stuff, something that bit different from what's mostly around today and definitely a tasty morsel into which to sink those molars.