This is  such an intriguing and effective album. You know, it would have come close to landing under the progressive rock heading just based on the music. There is enough prog here that it comes close, and it wouldn't have taken much added to get it there. The thing is, the involvement of Randy McStine and Julie Slick tips it into the net for me. I think that prog fans will find plenty appreciate here. This has music that leans in other directions, but it's always creative and unusual. It's also always effective. There are also plenty of horror linked moments, making some of this perfect for spooky season.

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While the first song only had female vocals (Leeloo), this one features both male (Willoughby) and female (Olivia Bennett). I like the slightly artsy, but still grounded rocking vibe of this track a lot. It's perhaps a little less adventurous than the opener, but it still has some unusual angles at times.

I like the playful, driving rock sound on this thing. There is a retro fun rock side to the music. It's like a modern take on 50s rock in some ways. The lyrics are horror-movie fun. "I can't wait to eat your brain..

Artsy and trippy, this is pretty purely modern prog. It has edgy electronic elements, more pure prog breaks and more. The male vocals are spoken, while the less prevalent female ones are sung. This is so cool. It's absolutely a highlight of the album for me. It shifts to trippy space to end.

This song makes me think of The Last Dinner Party. Given that their album will probably be my favorite or the year, that says a lot.

I dig the rocking groove of this a lot. While this is definitely sort of an artsy alternative rock with some prog in the mix, there are some slight jazz leanings, too. This inventive, unique and so cool.

Driving, proggy rocking sounds are on the menu here. This has some jazz and plenty of art elements. Again spoken male vocals and sung female ones are on the menu here. The saxophone is such a cool touch. I'm reminded a little of the jazzy side of King Crimson at times on this for some reason.

I love the bass presence on this. The cut has a bouncy vibe that is reminiscent of The Beatles. It's all class. There is a section at the end that pairs rather symphonic keyboards with gentle female vocals. It's a satisfying and proggy way to end the album.