by Octopi Mills

The opening track has the usual flair the band is known for and there is a futuristic or modern theme at hand, it seems. Weirdo vocal harmonies and a paranoia that is well founded is present in "I See Through You.". "Shock Wave City" has a vintage guitar tone and the music sounds as if it could have come from the sixties or seventies. 
The song "No Return" is a slower one, though much in the way the new Electric Wizard was owed a decent spin this one too doesn't do much for the rest of the discography and seems as if it could have been better, sadly. This one is definitely more of a listen than the last album I mentioned in terms of being more interesting. "Blood Runner" has a psychotic sort of sprawl to it and uses the harmonies in a manner Uncle Acid has been known to haul off and do. "Stranger Tonight" does creepy psychedelic things that are subtle and dangerous and sounds like madmen in a masquerade ball where someone has a deadly cocktail and pulls a knife out and waves it around with a smile. 

"Wasteland" is slow and strange like some strange old movie or hallucinogenic state that has a bad trip to the affair where things turn out badly. It is almost like finding the reels to a vintage camera that holds the film to some family vacation gone  horribly wrong. "Bedouin" is weird as hell too with vintage feeling strange enough to pull out old television things and scenes; making the mind control aspects and themes more and more suspicious. By the time "Exodus" comes about the album has taken a different shape and made something for its self with its leering guitars, madman vocals and stalking bass. The crashing drums and deformed hand tricks of the organs add to the trip, creating a dangerous place in society that looms along the edge of the sane and civil social graces of ease and cozy rest; a place where men's minds shine like twisted carnival lights on long blades and brains spark and glow like phosphoric caverns of radiated cotton candy and smiling carousel animals.