Like Eating Glass features incredible performances and arrangements on every instrument. Especially, Matt Tong on drums is a fantastic highlight. This all comes together greatly within a very poetic lyrical take on a household that becomes harmful in the face of a failing relationship.

Low-Mid 9.

Helicopter is a fantastic and quintessential rock song with amazing riffs, guitar tones, drum performances and vocal personality. The chemistry between the simultaneous guitar riffs is beautifully euphoric. Lyrically, it’s an applaudable take on self-scorn and of how we internalise others’ shallow criticism.

Low 9.

Positive Tension is yet another song with mind-blowing performances and arrangements that come together for a very energetic instrumental — the bassline and drum performance being the biggest highlights. The lyrics paint a bleak picture of the entertainment world, especially of talent shows and pompous judges who address others’ talent and can freely make remarks like “you’re just as boring as everyone else”.

Low 9.

Banquet explores how moving past youth and into adulthood affects relationships which were formed at a time of immaturity. Instrumentally, it’s another energetic track with a fun and powerful guitar riff that implements creative panning. Additionally, the bass line is also quite moving and worth mentioning. However, while still evocative, it’s not as strong as the simply massive tracks that precede it, especially because of the somewhat weak chorus and the similarly underwhelming breakdown.

Low-Mid 8.

Blue Light is a very intimate and affectionate love song that simultaneously encompasses maturity and coming to terms with intimacy. It’s a calmer and more laid-back cut on the record, though that’s not to say that it’s not evocative. It actually does the rest of the tracklist a great service by giving it breathing room, but it does pale in comparison to other points on the record — personally.

High 7.

She’s Hearing Voices is a childish, cheesy and misdirected lyrical attempt to address mental health. Instrumentally, the vocal performance and the guitar riffs only add to the aspects of this track that rub me the wrong way. Namely, the “red pill, blue pill” choruses are angering even.

Low-Mid 4.

This Modern Love is a very warts-and-all approach to a genuine and heartfelt falling-in-love song. Matt Tong’s drum performance is energetic, yet it adds to and spices up the proximity and warm, calm ambience of the track. That being said, it’s overall somewhat unmemorable and not all that emotive.

Low-Mid 6.

The Pioneers is another great example of the performance ability of every band member. This energetic and evocative instrumental complements the songwriting to quite an enjoyable extent. The lyrics touch on the unachievable expectations that eat away at our confidence and self-esteem, with a progression into maturity as Kele Okereke realises that it’s not all over because “we will not be the last” to pioneer this world. Definitely the best track of the middle section of the record.

Mid-High 7.

Price of Gasoline has some more energetic vocal performances from Kele Okereke. The rest of the instrumental also has some enjoyable elements: the echoey guitars towards the beginning and the high-energy riff on the chorus are examples of this. However, the “war” backing vocals on the hook and march-like stomps that accompany the drumming are painfully cheap, lacking in creativity, and really distracting. Additionally, the lyrics come across as an oversimplification of issues and an immature desire to fight and win against the government/upper class.

Low-Mid 5.

So Here We Are is a seemingly triumphant song, but it has pretty bleak undertones of addiction to ecstasy. The instrumental is inspiring and feels rather gigantic; this, together with the lyrics, creates a sullen yet beautiful synthetic paradise. Also worthy of note, this is one of Matt Tong’s best drum performances on the record.

Low 8.

Luno: once again, I find it difficult to express how much I appreciate Matt Tong’s drum arrangements, energetic ability, and idiosyncrasies. He gives an already strong lyrical point additional energy, as well as cohesion with the rest of the band’s performances. These lyrics are a really ‘rock-song’ topic of distaste for criticism but with a newfound freshness. One that comes from it being sung from the perspective of someone who tries to neurotically convince themselves that they can change and mend a relationship with someone who changed for the worse by getting lost in their revelry.

High 8.

Plans explores the frustration that one can feel when seeing someone you love in a morose state of indignant apathy. It also explores having a “taste for blood” in trying to urge them out of this state. The instrumental is not bad by any means, but —again— comes across as somewhat one-dimensional. However, the absolutely explosive solo and breakdown are wholly worthy of praise.

Low 7.

Compliments uses very repetitive lyrics to convey the bite of monotony and a ‘to live is to suffer’ philosophy to a surprisingly successful and sentimental extent. The instrumental also fits the lyrics quite well with its lethargic feel, creating an introspective atmosphere for this downcast closer. However, it’s rather long-winded and the repetitiveness only makes sense to an extent.

Low 7.

Every Time Is The Last Time (the unlisted hidden track) is the only instrumental song on the record. It’s a calming, low-energy cut with an explorative tremolo-like guitar tone that keeps it from being too boilerplate. All in all though, even this guitar tone can be a tad annoying, and the whole song is simply boring. It won’t affect my scoring, however.

High 5.