My first listen to "Meandering Soul" left me less than impressed. The 42 minutes dragged, the music was painful, and I was about to chuck in the towel. But apparently God loves a trier, and a further listen revealed a rather intriguing and mysterious record. It's not going to be to everyone's taste, that's for sure but if you enjoy something with psychedelic sprinkles on the top, then this is likely to be worth your attention.

Hailing from Rennes in France, DJIIN take their name from spirits and other beasties of the semitic beliefs and traditions. The quartet draw their influences from a range of older genres, mainly doom, progressive rock, psychedelia, and heavy rock. They also draw deeply on Eastern music, with the use of the electric harp just one of the more abstract instruments featured.

"Meandering Soul" presents the story of a tortured mind being and evil accomplices who lead the listener on a trip that will test the emotional channels. One of the striking features of DJIIN is the low-voiced vocals of Chloe Panhaleux whose delivery brings a whole different element to this release. "Black Circus" starts the album in jarring style. A brooding, menacing six minutes which sees Panhaleux start low, reach a cacophonic climax of screams midway before returning to a more measured delivery towards the conclusion.

It segues seamlessly into "The Void", which trips between OPETH, MARILLION and krautrock in one mesmerising song. Whilst the band carry a stoner rock band label, there's a much more complex level of musicianship here, although the occasional blast of filthy riff is welcomed. The songs follow their own patterns, regularly diverting from traditional time signatures. "The Void" erupts in a cavalcade of dirty riffs and Panhaluex's screaming.

Centrepiece of the record is the nine-minute "Red Desert", which contains some explosive riffing, a haunting, gothic vocal delivery, and some crunching guitar as well as an expansive and creative middle section that soaks in a variety of tempos, down-tuned riffs and even Electric Harp, which all do battle whilst the misery-soaked singing continues. What's even more pleasing is the full-on jam that explodes in an Eastern crescendo towards the finale.

Halfway through and the album is warming up. You need to sit quietly and absorb this record. There is no way you can listen to it whilst doing anything else. This is a glass of spirit or wine, a darkened room, dimly lit, perhaps by a well-established log fire. The dark tones of "Warmth of Death" suggest something sinister is about to arrive and it's no surprise to feel dark tentacles clawing metaphorically around your neck. The lull in delivery is a mere pause, allowing time for the song time to devilishly build, the rolling percussion, haunting Electric Harp all combine. The slight punk tinged "White Valley" brings some relief from the longer tracks, it's fuzzed up groove the first real strong indication of the band's stoner roots.

The grand finale is brought to you via the "Waxdoll"; a grooving fast-paced track that punches well above its fighting weight. Riffs fall from the sky in huge hailstone sized pieces, dropping the beat to a simple bass line and gentle cymbal work as the track throbs and swaggers towards its ultimate destination. It's a fitting conclusion.

By the end of "Meandering Soul" I was ready for another play. It's a remarkably complex and intricate album, with something for most. Musicianship is off the charts with the thundering rhythm section of Guyomard and Pailhes anchoring the ship with rock steady playing. An album that started out poorly has turned me around. Magnificent!