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Anomie unseals the extended play with aggressive growls of despair, conveyed with fast paced drum beats, and distorted guitar riffs. The track passions together speed, funeral-doom, and atmospheric black metal, whilst the multi-instrumentalist and vocalist of the project cleverly cries out in seemingly inane noises but is, in fact, using his voice as an additional instrument, his metal genre screams harmonizing with the other instruments. What is noted, is that in amongst the snarls, is the word ‘anomie’ in repeat. Anomie is of course what is mistaken for anarchy, where is a sudden breakdown in society, which then leads to disorder and mass aggression, resulting in the destruction of property and rioting. As the track ends, it transforms into She Spoke of Her Devastation; at first, a beautiful atmospheric/progressive Middle Eastern/Byzantine and Gaelic fusion sound, before it morphs into melodic speed metal.
Lovegaze transports away from the previous tracks, experimenting in indietronica, ambient progressive rock, and melodic speed metal, a guest female vocalist speaking in quick delivery, out of desperation in her native tongue, Azerbaijani. Shortly after this calm, the metal takes is given more prestige, taking the reins and leading the instrumental in a charismatic, romantic and overall uplifting display of composition skill. Comparably, Violet Cold channels Anathema, and Poets of the Fall. My Journey to your Space starts with the same guest vocalist speaking, in an informative, friendly tone, partnered by a progressive trance and ambiance, however, very quickly, the song detonates into atmospheric black metal, not dissimilar from the first song, Anomie, only with more inspiration from electronic dance music, which plays a significant part in the nuances of the instrumental.
Violet Girl begins as a country/alternative metal duet with the guitar and female vocalist, for the third time speaking in her native language, before the homecoming of atmospheric black metal with alternative metal fusions engulfs the direction of the song, the growls of Violet Cold joining in as an extra percussion instrument, replicating that of the intelligent dance music genre of drone, as ambient rock/metal reinstates its presence. As the song reaches its crescendo, the chirpy occurrence of an ancient Greek instrument, the ney (sometimes known as the nay), now commonly performed in Turkey and other parts of Asia and the Middle East. No Escape from Dreamland, the last track on the album alters into classical and ambient at first, taking shape into a progressive trance track, settling into a minute silence before surprisingly re-emerging into a funeral doom and black metal fusion. The last few minutes of the ending instrumental however then drastically changes again into an oriental/folk metal concoction, using the duduk, and then again shake it up by the return of the atmospheric ambient metal, with the ney taking the duduks place, as well as acoustics. The track comes to a climatic end, with Violet Cold’s gruff vocals, bringing together the black-doom metal and atmospheric rock together, as it fades out with synthesizers.