A guitar-driven, moody atmosphere, adding layers, then taking them away. The words, embedded in Freel’s smooth, low voice, mingle with saturated basslines.
Searcy sounds less crazed, the guitars and drums are more orderly, the song lengths more typical, the lyrics spelled out carefully on the inner sleeve.
Going beyond typical Goth and morbid backgrounds, ex-Christian Death’s Rozz Williams has decided to go exploring in unfamiliar, and fertile, sonic territories.