FUYU, marks the completion of the musical trilogy started by LOW FLYING HAWKS two albums ago in 2016, is a crushing finale to the tale of Sisyphos, legend of Greek Mythology, pusher of boulders, the epitome of disappointment and someone I'm sure we can all relate to in some form or another. In FUYU, LOW FLYING HAWKS masterfully weave a tapestry of Droning, heavy Doom Shoegaze, telling their story through hazy guitar riffs, soft, warm drums and hoarse, impassioned vocals. A Medley of sounds coming together to create a rich, layered, tapestry.

The album opens with an atmospheric attack on the senses, feedback, hazy obscured riffing encompassed by a droning harsh wind. "Subatomic sphere" immediately leads on, fighting through the haze to pull those guitar strums to light. The riff is lethargic, very doomy, and the drums drag on like a sullen teenager, a distinct air of stoner rock wafts from the song, added to by the deep, relaxed vocal style. The screamed vocals take a backseat here but are no less effective at conveying harshness, echoing in the background providing an aggressive sonic layer.

"Midnight" is a lull of sombre beauty, a bleak euphoria, harmonious melodies and a wealth of beautiful atmosphere provided by reverbed keys and delicate strings. It is a tranquil seven minutes that tiptoes the knife edge of sorrow. Placid vocals feel soulful in comparison to the more contentious previous tracks, and the tone change creates a peaceful rest nearing the halfway point of the album. It's a wonderfully beautiful ballad and all the sounds work together cohesively and balanced. Midnight is a very appropriate title as this song conveys all the feelings of calmness one feels post sun set, quiet, mediative.

The anthemic 13-minute-long final track "Nightrider" is a standout, and not just for its impressive runtime. The guitar tones start deep and lethargic, hazy bass tones and a repetitive running riff. The very washy cymbal gives a dense, constant noise and the groove over the repetitive riff with little care for iteration, all while the vocals take a dip into a more spoken word conduct. Echoing back-up vocals create further layers and add a note of mysticism, backed up by the screams that fade off into the swell of dense music. At the six-minute mark the drums and guitars dissolve and we are left with curious, sci-fi esque sound effects. When the instruments return, the feel more subdued and sparser than before, whilst the vocals have become a mere shadow of what they were, it feels like we have transported from grounded Doom to a spacey, reverbed movement. This floaty reverbed sound continues for the rest of the track, with the guitars and drums swelling to become more forceful and louder, but still never leaving the dream like musical expanse.

This album is a wonderfully delicate blend of Doom and Shoegaze, mixing a wealth of emotions together masterfully through its dense layers of great instrumentation, production and atmosphere. Every song feels like an important chapter and it all comes together as a whole to be an ever moving tapestry to get absorbed into and lost.