From their EPK, "The Waves Have Teeth" was essentially written in the order of appearance, a revelation which arrived one after another, an organic process for Sjödin and Hörmark. A dark, vintage feel was insisted upon, aiming for a sound in touch with older Death Metal while still speaking to the same senses as the Post-Punk and Goth Rock bands that they love. This resulted in a record affected by the Swedish autumn, the rain, and the cold. Naturally, the music takes the listener to a place of loneliness, of isolation and dread, disgust and insanity...of death in the archipelago, of islets drowned in excrements of cormorants...of lighthouse keepers lost in the dark, breathing nothing but salt, hearing nothing but the waves slowly chewing their way up the cliffs." The album has six songs.

"The Seep" is the first. Seagulls sing amidst a dark, and slow, and harrowing backdrop of guitars and harsh vocals. The guitars offer some dissonant turns along the way of the main riff. The vocals are near guttural but also have a sharp edge which reaches out. "Gag" is a shorter song, but no less filthy. I feel like I have entered a bog or a swamp that must be passed through to get to my destination, and come out the other side covered in dirt, muck, and stagnant water. The vocal range from guttural to all-out screams. "Pile of Birds" has a quicker romp of heavy bass guitars and rhythms, chugging through fresh concrete-the further you go, the more stuck you become. You can hear some of the Post-Punk elements in the cadence.

"No Eyes" has a furthering depressive sound as the title suggests with a more traditional Death Metal romp. The faster passages are very dissonant, combined with the gutturals. The sound drops off at the half-way mark, to eerie clean guitars that almost provide a small ray of light in the eternal darkness before a return to dissonance and madness at the end. "The Hill Will Know Him" reminds me of a lost man searching through the wilderness, looking over his shoulder at many strange noises along the way, becoming increasingly paranoid. The vocals remind you that he his sixth sense is right.

"The Floating Horror" closes the album, and it's a lengthy closer. Tense, clean tones open the song, with a slow build. The main rhythm comes chugging in a few minutes into the song, with more of those Post-Punk qualities. So far, the song seems fairly benevolent. By the half-way point, the instrumental sports some Post-Rock qualities, with great bass guitar work. The ending is abrupt. Overall, this album is sludgy, doomy Death Metal with a side of rotten worms for the host. Served cold, it does indeed remind the listener of a dark, wet and frigid Swedish autumn. There are enough outside elements to keep the album from easily being labeled. But whatever that is, I enjoyed it. This is a fine example of a band who has clever songwriting skills. Cover me in mud.