Whereas the albums that preceded it examined our past, the societal failings that have brought us to our troubled present, “The World We Inherited” turns its gaze to the future and the shadows of fear and division that bleed across its horizon. Inspired in no small part by a long and winding conversation with Killing Joke's Jaz Coleman and the prophetic, dystopian fiction of George Orwell, “The World We Inherited” wanders through a murky, broken world of conspiracy theories, authoritarian politics and chilling isolation. Yet while the lyrics and concepts provide the framework for the album, it's the beautifully textured music that draws the listener into the world of Final Coil and enfolds them in a breath taking experience encompassing overwhelming melancholy, fierce intensity, passion, terror, confusion and starlit glimmers of hope.

The title track is first, and it has eerie and somewhat ominous tones, almost like warning sirens. Stay on this path any longer, and you will discover the evils that lie ahead. The heavy tones that accompany the harsh vocals are crushing. “Wires” has repeated lyrics in the beginning and a weighted sound of guitar, bass, and drums. The song is presented in a monotone way, to simulate the effects of bone cold chills, and nothing to be seen on the horizon. “Chemtrails” hears the danger growing with layers of guitars and a steady, pounding rhythm. The sound here is also quite bleak, but comes with a heightened sense of warning.

 “By Starlight” is a gentler offering, but those dissonant piano notes keep the mystery alive. When looking for answers in the light of the stars, you can only discover veiled answers, and the steady electronica offers no solace. “The Growing Shadows” has more monotone vocals that are harmonized, as well as calm but dissonant instruments. It grows steadily darker as it moved along, threatening to swallow the listener whole. “Stay with Me” also has dark leanings, together with a sterile beat of electronica. For me, it sounds like the twisted pleas of a stuffed animal that came to life, but has hideous appearance, almost as if half of it stayed dead.

 “Purify” is the kind of song that reminds me of the Germans during World War II. It comes at you with a smile but also a dagger behind its back. Step out of line and feel the dagger sink deep into you. It segues into “Out of Sorts,” which reminds me of someone who just doesn’t feel right but can’t figure out why. He has no symptoms, no fever, but just feels lost in a haze of sorts. It could be the first bit of gas before arriving at the chamber. “Humanity” is a final comment on the subjects that were born with highly functional brains, yet continue to hurt others and the environment around them until it’s too late to go back. The heavy instrumental accents and snarly vocals carry this sentiment forward.

 “The End of History” closes the album, and the statement is made matter-of-factly, albeit with some sad tones as well. “This world is not for you and me” he states. For me, the music is reflective of the themes mentioned in the beginning quite well. You can see the divide between people growing larger each and every day, and at some point, wheels were set in motion that cannot be undone. Have we reached that point already? It’s hard to say, but I don’t feel bad about the possibility of not being around to witness the end of times.