Dear reader for your amnesty of sanity and abstaining of a sound mind I would ask, such that in trepidations I would commit myself that you, as an individual, surcease of awe and wonder in favor of the visceral sensations invoked by AZUSA-a super-group devoid of any semblance of peace, harmony, or any other sensation whose prescription would allow the self to be indulged within euphoria and splendor; here now exists the grandeur that is "Loops Of Yesterdays" in all of its macabre nature, from the immediate growl and groan of cacophonous instruments which commence the album through "Memories Of An Old Emotion," unto the tense trickling polyphonic cadences which mark the end of the experience through the song "Aching Rituals."

Previously mentioned yet compromised with indignant stutter, "Memories Of An Old Emotion" is, in essence, an evocation of those felled and forgotten senses now lost to the obsolescent dirge of time that so many people do possess; the stark parallels of bittersweet euphoria and splendor and interspersed throughout the heavy and cynical instrumentations, whereupon at the climax of such sorrowful piques of reflection does the music shift once more to the dramatic and exasperate. A concept known too often by too great an amount of people, "One Too Many Times" conditions itself to epitomize the return-to-zero that so many of us experience, that is those particular moments and instances we find ourselves returning to the pangs and throes which countless times before have worn themselves upon our countenance and scarred deep beneath the psyche; herein the song changes its motion during the last half, removing the sense of association in favor of the ego, the I, and as such the bouts and terrors of self-inflection become all the more meaningful as we listen to the pained wails of Eleni Zafiriadou.

The conceptualization behind a soundscape is itself a difficult manner to give description to or attempt to project into a physical identity, and as the instruments line the sharpened and jagged walls of the record with jutted and enkindled tensions the overall bespoke sensation fills us, the listeners, with occupancy of dread, diminutive fervor, and derelict perversions and inadequacies, those sensations forming into a perfect macabre cosmopolitan which few artists would ever manage any form of success. Surrender unto your speakers or other listening apparatus any previously held forms of sanity or stable thought as the music, in part or as a whole, envelops those deep and oft overlooked fissures that form the invisible crevices of our psyche; and, in powerful strides, the music brings to life these forgotten terrors through its own horrors such as found within the conflicting knells of "Monument," the pained relapse illustrated by the breadth that is "Support Becomes Resitance," the goading and ignored woes of restitution found within "Kill - Destroy," and finally the eerie and eldritch disharmonies which make up the entirety of the title track "Loop Of Yesterdays."

In present tone and with words spoken in veracious conclusion the effects and intents of AZUSA reach far beyond that which one would expect from a glance, such that the album in its entire construction, bears the grotesque and grandiose fruit of their labors seen plainly by fans of the band's work, or those who find themselves caught as passers-by to the madness that is "Loops Of Yesterdays." In essence, the album is a fine work with little reason for improvement if any, the only matter I would dare opine is that the album could be strengthened by the addition of 1 or 2 tracks, yet in regards to performance and composition both elements are sublime by design.