WITNESS

1. "Straight Lines" (4:22) after an awesome opening, the song develops like a heavier BROTHER APE tune until 1:45 when there is an interesting turn before settling back into a variation of the opening rhythm for the second verse and chorus. Some cool little twists in the second half keep it lively and interesting. We're off to a good start! My first top three song. (8.75/10)

2. "Head Mounted Sideways" (5:34) the djenty bass and guitars are amped up for this one--a kind of industrial metal sound. Synths and synthesized vocal continue the industrial future vibe before the "normal" voices and sounds appear for the chorus. As with the previous song, there are some very cool and interesting twists and turns-- including a CURT SMITH-like vocal in the hushed middle and the thick synth-chords used for the instrumental solo section after the second chorus--and then the long-sustained growl-scream in the first half of the fifth minute. Great ending. Excellent song. A top three song for me. (9/10)

3. "24 Light-Years" (4:32) opens with heavily treated chords of glass/toy piano-sounding percussives before tom-tom rhythm is established with synth for Asger to sing in a very sensitive, airy voice. Very different from the other songs on the album--especially with its spacey, non-djenty foundation. Even when the djenty sounds do enter--in the third minute--they're controlled to take up less space. Interesting. (8.5/10)

4. "These Black Claws" (5:52) another odd opening with synth riffs and drum machine leading the way for the first sparsely populated 20 seconds. Then it seems as if all hell breaks loose as a wall of djent chords fills the soundscape. But then, surprise, the djent stops and we return to the odd, untuned synth motif of the opening over which Asger sings--until rapper Shahmen adds his shtick. Creative but weird. I'm not convinced that this works. Even after repeated listens--as I get used to the weirdness--I'm not finding myself anymore enamored (or repelled)-- though I have found myself really enjoying the heaviness of the final 90 seconds. (8.5/10)

5. "Freak" (4:50) backing away from heaviness, the band steps back into a kind of modern TEARS FOR FEARS sound for this one. Perhaps a little mores spacious and simplistic than a Tears song, the melodies are allowed to win out on all levels here. Nice little Steven Wilson feel during the guitar solo. A pleasant, innocuous song that, unfortunately, does nothing great for me. Would that I hear the lyrics. (8.5/10)

6. "Napalm" (4:58) great bass lines and keyboard play. Not my favorite vocal--and definitely not a great chorus-- which is then repeated ad nauseum. (8.5/10)

7. "Future Bird" (4:35) stripped down music-scape over which Asger sings in a sensitive voice during the first verse. The band amps up for the chorus before shutting down for a very cool little transition back to verse #2--over which Asger continues to sing in his pleasing voice. Very nice sound with some really nice touches but, ultimately, the song doesn't really go anywhere--even uses an overly-long fade over the repeating chorus to end the song. (8.75/10)

8. "Stone Leader Falling Down" (4:23) sounds like Proghma-C during the first verse. Keyboard strings drench the soundscape during the chorus. Vocal sounds like 80s Tears for Fears and/or Depeche Mode. Cool instrumental coda at the end of the third minute. (8.75/10)

9. "Inside Your Fur" (5:00) opens with music that sounds almost exactly like that of the previous--especially in the rhythm section. Love hearing Asger's voice during the quieter first verse. I love the tuned percussion interlude at the end of the third minute before returning to the amped up chorus. Great composition, top to bottom. A top three song for me. (9/10)

Total Time 44:06

I remember feeling so disappointed with the way Asger backed off on his vocal intensity--how the vocals were mixed so deeply within the weaves of many of the songs on 2018's Applause of a Distant Crowd as compared to those of their debut, Inmazes.

B-/3.5 stars; an interesting collection of sophisticated and nuanced songs. Recommended for fans of their previous albums.

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