The evolution continues. The emphasis of the opening track to this industrial project's new album is placed on more organic synth grooves. Lynette is singing in a less dramatic and abrasive manner, not too far removed from Zola Jesus' zip code. The second song does not find the vocals as finely crafted to fit over the synths in the same infectious manner as the vocals on the first track. Instead, there is more of a chanted drone as the synth wave sounds take you into space. There is overdriven swathes of distortion these more 80s-inspired sounds collide with.
"Never did I" is a step in a darker more dark wave direction. Her voice drops down into her alto register and coasts coolly over the brooding bubbling of the beats beneath it. "Mind Tears" feels more like an atmospheric interlude than a song. "Slitskin" has a harsher beat, as Lynette chants in a sing-song fashion around the composition as it unfolds. Lyrically there are some interesting themes, exploring how one feels in their own body and well as trauma bonding. I like how synth sounds are layered by being gradually introduced as the song wanders on.
"Hex" has more in common with the dark wave side of the band despite the fact it drones more than grooves. The repetitive chant of the vocals creates it's own hook. She declares she is the spell with enough conviction for me to believe she believes it. "Only DEAD FISH" has a more downtrodden mood that they odd angular beat pushes forward. "Innards" finds her declaring she is not an open wound, as a meaty beat undulates beneath her. I suggest listening to this album with headphones as you pick up a better mix of the synth sounds. "Road of a Thousand Tears" finds her vocalizations more dramatic. The pulse of the music under her is more sedate. She shows a little more vocal colors here. I will give this album a 9.5, as it certainly holds up against their body of work and might even be better when it comes to songwriting.
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