From Bandcamp, “Beginning with a seventeen- hour journey for Mike across land, sea and air, arose out of his own period of personal tumult; “Lyrical inspirations for this one were really a reflection of my personal life and processing years of buried shit that was bubbling up. And of course being on this Island. You could feel the energy of the land, you could feel its past. This is about moving forward, letting go, being grounded in yourself and with the earth. The title is a nod to the fact that everything ends - good, bad, ugly, beautiful. That is not a bad thing - it is a rebirth every time. We can spend a lifetime 24/7 together having shared experiences but living separate realities.” The album has eleven songs.

“Waves of Laughter” is first. It has a slow, distorted lead in, which reminds me of white noise, but what follows is a heavy and dissonant sound with shouted vocals. The ends of each don’t make a lot of sense when paired together however. “These Hills” has a funky opening bass and drum line, each acting nonchalant. I get more of a Punk element here than anything else, although it’s not your dad’s SEX PISTOLS. “Thieves” has opening guitar tones that are dissonant and the thumping bass underneath doesn’t match well with the key. In fact, I’m not even sure there is one…and I believe that is the point. “Trying In Hell” is really the first song that is delivered straightforwardly…at least somewhat, but again, the tuning of the vocals is in direct conflict with the music.

“Liar” has some psychedelic elements running through it, and as a listener, you feel the grate of what sounds like the cadence of cicada in the summer. “I Am the Land” has heavy bass notes under a lighter featherbed of noise, and I hear some JANE’s ADDICTION type of sounds here, although it is bastardized, as if she got vertigo and her perception is off. “Just Tell Me How It Ends” is a darker offering, but it still out of bounds in terms of what many listeners will call “music.” Because it’s an art, the eye is in the beholder, and some bands like to push boundaries as far as possible. “Twos and Threes” sounds at first like an old diesel engine kicking over, but these ethereal clean vocals carry on over top, seemingly ignorant.

“Faces” is another short offering that attacks with the cold blood of a serial killer. The lengthy “Like December” closes the album, and it’s very dark in scope. Heavy bass notes plod like the footsteps of giants, and in the background, there are strange noises. The ethereal vocals almost seem like an afterthought. That closing line of “we can spend a lifetime 24/7 together having shared experiences but living separate realities” really sums up the album well. This is very niche in its approach, and it probably won’t win over many new fans. I can see them having a strong cult following however, but the album, at its basic level, will probably be too strange for most folks. I at least appreciated the avant-garde approach.