From Bandcamp, "In Light, No Shape" is a masterful Progressive Death Metal opus, rich in texture and atmospheric detail, delivering everything long-time listeners crave while channeling the mid-90's technical extremity of DEATH, EXTOL, and MESHUGGAH. This time, the band deliberately fractures the conventions of modern extreme production, opting instead for a more organic and visceral mix that sharpens the defining traits of their work. "In Light, No Shape" marks the first lineup shift in a decade, as the band sharpen from a quintet to a quartet with founding guitarist Alex Baillie stepping forward as vocalist while retaining guitar duties, following the 2023 departure of founding vocalist Henry "Big Mac" Pryce."

The album has ten songs, and "Transient Fixations" is first; a short introductory piece. The tones are dark, sinister, and even aggressive at times. They bubble up and when they are let out, they take flight. "Inflection Chants" uses some of the texture and atmosphere the band talks about. Too much of one thing can start to wear you down as listener, but these techniques allow some breathing room and perhaps the ability to appreciate the start Death Metal sounds better. "A Game of Proliferation" has a choppy, chugging rhythm that segues into heavy accents. The drums keep a steady presence throughout, at times blasting forward at light speed. "Chasm" is another burner that leaves a thick trail of smoke behind it after it passes, and it's choking and suffocating. Many of the songs so far are short, but this level of density wouldn't allow then much longer run times.

"Vertical Illusion" is another song that bashes down barriers with its raw strength and power, but that riff has a bit of a groove to it as well. It creates both a catchy and a brutal listening experience for me. "Witness Marks" has a pulverizing sound, as if each structure is being finely hammered into dust. There are also some really nice atmospheric elements here. "Subterranean Incantation" has a slower move, deliberate and calculated. But like a fire lit under your ass, you get up quickly to try to extinguish it. Oddly, there are also some melodious elements, and they work well with the brutal palate. "Induced Contortions" is another song that takes advantage of every little sequence that it gets to branch out just a bit, just enough for you to breathe. "The Zone" is the final song, and it's another trip through an impossible amount of underbrush. It's so damn thick, you can barely see through it.

For me, the album was like taking a short cut to get somewhere faster but the shortcut is riddled with a dense underbrush that with each step, it gets harder and harder to move. The density is probably its best quality, but so are their technical skills. It was complex, but also accessible, something that not many bands in this style can pull off with the seeming ease that they do.