From their Press kit, "There's no escaping the motherlode - that eternal continuum of high drama and overheated amp stacks fit to raise the pulse and revivify the spirits. It's merely an unmistakable band chemistry that transforms base Hard Rock into gemstones, and this process is an increasingly rare phenomenon in the here and now. Luckily for Stockholm's alchemists LUGNET, they are one of the few.  Here in these steamrollering grooves and strident anthems is just the kind of swagger and bravado on which rock built its foundations in the '70s, yet without any of the clichés, or the bloated self-importance. The roots of LUGNET may be visible to see, and the primal stomp of early DEEP PURPEL, the apocalyptic sermonizing of BLACK SABBATH and the cinematic majesty of RAINBOW can easily be detected in the almighty "sturm-und-drang." Yet this sound is delivered with charisma and maverick energy that effortlessly summons fresh vibrant life to a classic form." The album contains ten songs.

"Still A Sinner" is the first. It swoons with an old-school, throw-back sound. Johan's vocals are pretty good, though low in the register. The main riff is energetic, though nothing you haven't heard before. "In Harvest Time" is another energetic rocker that begins with a long scream. I suppose Johan has the pipes after all. From there, the music is fairly bland and unexciting however. "Another World" is a longer song that begins with eerie lead guitars thick with reverb. This song sounds more in the realm of BLACK SABBATH, especially from the doleful tones and bass work. The pacing is slow, allowing the depressive sound to really come through.

"Svarv" is a very short acoustical guitar number, that lasts just a minute-and-a-half. "Eaten Alive" is three-minute burner with audible bass notes and some lead work. At this point, the vocals are getting fairly tiring, with nearly the same sound as other songs. The band has some talent, but if they really want to make a name for themselves, they need to strike the past and head down their own path. "I Can't Wait" has a LED ZEPPELIN tinge in both the main riff and the vocals. The band is pretty good at re-creating the forefathers of the past, but I have to ask why they would want to do this? "Black Sails" is a mid-tempo rocker with an amalgam of prior styles. But the song really doesn't make much of a point, wallowing in melancholy tones without much excitement. The guitar solo is smoking, however.

"Tåsjö Kyrkmarsch" closes the album. It's an odd song, not really sounding like any of the others. Old-school organ notes are done in a staccato rhythm, and the sound is pretty solemn. The purpose of this song remains a mystery. Overall, this album was mediocre at best. To my bewilderment, I will never figure out why a modern band would want to re-create the sounds of the past, when these sounds have already been done, a thousand times. We all love the band from the past. But do I want to hear them again, in 2022? The same formulas? The same approach? I would rather not, thank you. I will never understand this obsession.