Although driven by quirky, off-kilter rhythms, this is not exactly math metal; it is more organic, with a Tool-like flow. There are also similarities to Tool in the overall vibe of the music and in some of the chords and guitarwork, including some specific associations: bits of "Eulogy" in the beginning of "Mondegreen" and of "Parabola" in "Stapes 'n' Incus," for example. You will also find a little of Maynard in vocalist Jonas (No surnames are listed in the booklet.), but his highly emotive singing also sounds like a more pained, less sedate version of David Byrne, and on stage he has a rather Byrne-like physicality. There is a pronounced wail in his voice, which I would like to see reduced somewhat, but the vocals are strong and the screams quite well done.

Jonas is also responsible for Lithany's fascinating lyrics, which are full of surprising pop culture references and intriguing observations. "Mondegreen" (whose title is one of those terms that appears frequently in "there's a word for it" language books) addresses the kind of misheard phrases that are immortalized in music history and are part of everyone's personal experience. The lines in this song (e.g., "wash that window / fake that scream) could be culled from Jonas's own list of mondegreens or crafted for addition to the listener's--as could some other lyrics on the album. I'm still trying to figure out whether "Luther's Whip" pertains to the consequences of being raised according to the doctrine of the predominant form of organized religion in Sweden. Worthy of close attention, the album's lyrics are, unfortunately, not printed in the booklet, and I'm hoping they'll eventually be posted at the band's website.

Aside from "Junk Science, Tone Probe" and "Webcore," which are by Victor Kvarnhall of the one-man ambient band Lope, the songs on this album are all fairly lengthy, as one might expect, usually featuring extensive, mostly instrumental openings, codas, and interludes. Intensity levels and moods vary. "Enjoying Being Kubrick," the most rhythmically distinctive track on the album, begins with three and a half minutes dominated by heavy, agitated crunch, very tight at first, then changing to a cool ascending movement that creates mounting tension. Some screams from Jonas are the transition into a spare, mellow section which feels like the injection of a tranquilizer, followed by another screaming segue into what amounts to a two and a half-minute-long coda. There, the intensity of the first part of the song is re-established, with an insistent, head-banging rhythm, drums stuttering, lurching, and pounding, topped by a wonderfully demented, buzzy guitar solo.

The beginning of "Mondegreen" is frenzied, consisting of staticy sounds, then edgy rhythms, while in the background Jonas rants to himself, seemingly tormented by mondegreens. The chaos builds until the singer screams "What does it mean?" At this point the cool, controlled, main riff takes over, later to be warped almost beyond recognition in the coda, reflecting the mangling of phrases that is the song's theme. Lithany likes to take a riff and twist it around in different ways, switching angles radically and frequently. In "Stapes 'n' Incus" a very weird, jagged riff repeatedly jabs at you, and then away from you. Whereas Meshuggah provides the thrill of an inexorable, jarring force hammering at you, Lithany's riffs operate in a more insidious way, their effect cumulative, as you find yourself suddenly becoming aware that you've been under attack for several minutes.

There is also a huge variety of guitar sounds, including nuanced leads and other parts in which the rhythm guitar is mixed up front, acting as lead. Effects (with both guitar and synth) play an important role, their extensive use in "Devilbox," for instance, being one of the reasons that track is a standout on the album. Flirtations with psychedelia provide some of the most memorable moments in "Stapes 'n' Incus," "Point Sublime," and "Spitoon," and I'm hoping Lithany will expand their use of this style in the future, as it has the potential to be a significant individualizing feature of their sound.

The more they experiment with their form of "science metal," the more distinctive Lithany will become. Listening to this album, one rarely loses consiousness of their influences completely, but familiar sounds are twisted around and blended with more idiosyncratic ones. The inclusion of the two ambient tracks is evidence of Lithany's adventurousness, and the fact that these do not seem out of place on the album demonstrates their music's adaptability to just about any direction they are inspired to take.

written by Maud

Playing time: 57.58