From their EPK, "Musically, "Breaking the Catatonic State" marks a clear departure from the band's earlier sound, moving away from familiar sludgy rhythms to embrace a more complex and dynamic direction. Breaking with the 4/4 heartbeat rhythm we're all so comforted by, even before we're born, is at the center of the musical philosophy of this record," explains the band. "Hooks and sharp corners at every turn are what keeps us on our toes as musicians and what ultimately drives us to write and play music and has led us to drop any preconceived notion of what the follow-up to our EP should sound like, and any expectation of being well received with it."

"Godby" is the first cut. It is devastatingly heavy and aggressive, with thick accents that the band hits with precision. The vocals are shouted, which is my least favorite style of singing, but they work well with the weighted riffs, meaty bass lines, and pounding drums. "Yellow Eyes" has a desperate and angry sound, with both variables happening at the same time. The vocal screams sound like someone who is pleading to the powers above, and the dissonant music matches these tones. "Hatchets and Hammers" is what the audible depiction might be to a mass torture and killing ritual…blood everywhere…screams that will haunt you for years…the smell of decaying bodies. The thick bass notes and lead breaks in the song are beyond eerie.

"Good Seed" is entirely spoken word, and it's in a different language. "Bad Seed" is shouted and aggressive, and the vocals are cadenced at times. It is still at thick as concrete, and mostly dissonant, cueing on the part of your brain that activates you to want to get up and break things. "Geneva" is so slow moving and desolate, it's like a march to the death chambers. Each step puts you closer and closer to the cold, steel door that opens up to a room where people disappear forever. "Non-Competitive Garden Display" is another dissonant offering, and the riffs create an anger that begins in your stomach and eventually boils over out of your head. Each pounding riff and drum strike makes the anger go from garden variety to rage.

"Lhotse" is the final offering, and has a distinct groove to it…one of utter destruction. I haven't heard guitar notes like this in a while…perfectly in step with the bass and drums, creating a squared or even cubed effect on the devastating weight. In sum, the album has an air of confidence about it, as if the trio doesn't give a fuck whether you like it or not. It's dirty…no, filthy even, with a soul that has turned black. The album won't only move you on an emotional level, but also a physical level. It's raw, cold, and primal.