Black Country, New Road - "Forever Howlong" (2025)

Forever Howlong is the third studio LP from the now critical darlings Black Country, New Road. And it has been hotly anticipated following the release of their truly sublime second record, 2022's Ants From Up There, which has grown into mine and many other's favourite record of the 2020s so far. It is such an unashamedly raw and heart-breaking look into the psyche of frontman Isaac Wood. The man was clearly heavily struggling during the creation of the record: and as has become part of the albums 'mythos' at this point, left the band just days before the albums release due to protect his mental health.

This left the band in a difficult spot, having lost their vocalist and one of the biggest driving forces behind the bands direction - and a tour booked that they did not want to cancel. They quickly wrote a bunch of songs to fill the set with, resulting in the release of the Live at Bush Hall live record. While honestly still a really great record, it certainly felt like a transitional moment for the group. While it retained some of the moodier post-rock and experimental rock stylings, it was nowhere near has dark and harrowing as the band's output with Isaac. Instead the band further delved into the chamber pop instrumentation that AFUT toyed with, and included more influence from 60's prog rock and folk music. Similarly, to ease the pressure of any one member being the primary vocalist, three members came forward to share vocal duties: bassist Tyler Hyde, keyboardist May Kershaw, and saxophonist Lewis Evans. And now with the release of Forever Howlong, the live album very much feels like a mid-point between the old and the new.

Forever Howlong pretty much does away with any of the remaining edge that was retained in Live at Bush Hall, basically being a full on baroque pop and progressive folk record. There is barely any electric guitar on the record. Evans has also has stepped away from vocal duties, having decided that its just not something he enjoys. In his place, Georgia Ellery (the group's violinist) has filled the third slot. This makes the most sense to be honest, as Georgia also fronts the art pop duo Jockstrap and is probably the most suited to the limelight in the band. The opening cut and lead single, Besties, exemplifies the records ethos compared to the band's past output. It is a lush, twee, somewhat Beatles-y baroque pop ode to friendship. It is very straight up and earnest, with none of the deflective references or tortured lyrism of before. All in all, it is a very cute tune and sets out the albums vibe and atmosphere very well.

Ellery takes the lead on two other tracks; Two Horses at the mid-point of the record, and the closer Goodbye (Don't Tell Me). These are two of my favourites on the record as Georgia has very confident vocal presence and the tracks as a whole are two of the least understated songs on the album. They feel like tentpole moments with their placement at the middle and end of the record. Two Horses is a galloping, multi-phased prog-folk tune that is initially quite stripped back and moody. The instrumentation slowly builds up, through the woodwind, mandolin and strings. Half way through, the percussion kicks in and the pace picks up. The plucked guitar style gives off a very Nick Drake feel to me. The track then gallops over itself into a sinister sounding climax as the protagonist of the song is betrayed and her titular horses are killed by her former love interest. It is a fantastical and theatrical song that really doesn't get old for me. Goodbye (Don't Tell Me) is probably the closest to an indie rock song, with its gentle acoustic strumming, whooshes of reverby electric guitar and quite a catchy hook. It nicely rounds off the themes of friendship that run through Georgia's tracks; and to bring back The Beatles comparison, it has that kind of full-circle feeling that Stg. Peppers has.

Kershaw also takes three songs, and much like Live From Bush Hall, they are most whimsical on the record. The Big Spin makes reference to fruit and vegetables and baking in a very retro, 'cottage-core' way; however has this subtext of letting go and cutting someone off in a way that seems like quite a traumatic experience. The title track also has this very whimsical presentation of mundanity of daily life, with lyrics about the waves of tiktok wellbeing videos and daylight lamps used for seasonal depression. Both tracks are understatedly really quite sad, but in a hazy, malaise-like way. This is is further enhanced by the very stripped back and spacious instrumentation on Forever Howlong, which is mainly focused around the woodwind section, with a handful of flourishes from the other instruments. For the Cold Country is certainly the most dramatic sounding of May's songs, and follows on from the fantastical story telling on Two Horses. It reads as a tragic lovestory between a knight and a maiden where he goes off to fight for glory and ultimately meets his downfall. The song develops from something very stark and simple into an elaborate, crashing crescendo that is one of the few moments on the record that sounds akin to AFUT.

As I expected from Live From Bush Hall, Hyde takes the most leads on the record; with those songs being the more moody and sombre tracks on the album. Socks initially meanders around spacious instrumentation, but at the 2 minute mark the percussion kicks in and all the other instruments slot into groove for the chorus. It all drops out again for the second verse before settling into a very 60's vintage pop sounding bridge and outro. Salem Sisters is also quite dynamic, but at just over 3 minutes it does feel like the track is doing a bit too much in not enough time. It features some great backing vocals from May and Georgia. Mary similarly acts as a bit of a reset in the middle of the album after the drama of Two Horses, and is a fine enough song but not a massive highlight of the album for me.

Tyler's two most significant songs on the record are her two on the back end, Happy Birthday and Nancy Tries to Take the Night. Happy Birthday is easily the rockiest song on the record, with some crunchy electric guitars popping into the mix. The themes around inherent sadness in people who, on the surface, appear to have everything they need is also quite poignant and well written. It has one of the punchiest hooks and radio-friendly climaxes of the record - probably why it was chosen as the second single. Nancy Tries to Take the Night is a multi-versed opus telling the tale of the fallout and stigma of an unexpected pregnancy. It is the kind of melodramatic showpiece that the band has steered away from since Isaac left; and while it doesn't have the wailing screams and cacophonies of sound of tracks like Sunglasses or Basketball Shoes, it certainly feels like one of the weightiest and commanding tracks on the record.

One thing I will say about record, and it is not necessarily a criticism, is that each song feels rather segmented from each other - leaving the arc and flow of the record as a whole quite flat. In some ways I quite like it, as it almost feels like the record is out of time and frozen in another place where the world doesn't move so quickly. But on the other hand, the sequencing of the record feels like it really doesn't matter, and most of these tracks could be placed anywhere else on the record (the fact that there is a collectors edition out there with different sequencing further highlights this).

I'm glad I've let Forever Howlong sit with me for a little bit, because it is a slow burner. But the longer I let it seep in, the more I like it. It's imaginative and unique, and takes me out of the grim realities of the modern world with these whimsical and fantastic stories. But they are all layered with a very real and meaningful subtext, making them very multifaceted. It doesn't feel quite as focused or cohesive as the groups first two record; but on a track by track level it is as good as the debut for sure.

Top Tracks: Besties, The Big Spin, Socks, Two Horses, Happy Birthday, For the Cold Country, Nancy Tries to Take the Night, Forever Howlong, Goodbye (Don't Tell Me)

8/10

Lucy Dacus - "Forever Is A Feeling" (2025)

Lucy Dacus is the first to return with fresh solo music following Boygenius' debut in 2023 significantly rocketed the singer / songwriter trio's exposure (comprised of Dacus, alongside Phoebe Bridgers and Julien Baker). I was already a fan of Bridgers, but following the Boygenius record I delved deeper into Dacus and Baker's solo work and I really took a liking to Lucy's raw and earnest lyrical style and very straightforward, vintage combination of singer / songwriter, indie rock and folk. While really emotionally resonant in places, her music is not flashy or particularly in your face, leaving it sounding quite versatile and timeless for me.

With Forever Is A Feeling, Lucy doubles down on this very lowkey, stripped back approach; swapping out the slightly more harder edged, fuzzy blues rock elements of her sound for gentle acoustic guitars and delicate chamber pop instrumentation. This is all to service the records narrative, which is very obviously about Dacus' blossoming romance with Baker following the closing out of the Boygenius era. The lyrics are sweet and saccharine, filled with the tepid excitement and hope alongside the worries and risk of falling for a friend. Following a short string prelude, the opening cut Big Deal tells the story of the growing feelings between the two, and that how Lucy was not prepared to take that risk and was surprised that Julien was. Set against gentle strumming and swooning strings, the song is beautifully bittersweet and really acts as the tone setter for the record.

The following track and lead single, Ankles, dives headfirst into euphoric jangle pop as Lucy indulges in fantasising about the exciting possibilities and potential futures this new relationship presents. The other teaser track, Best Guess, is similarly sweet and summery although takes a more grounded and pragmatic approach to the new relationship. Dacus frames the idea of romance as a best guess and that you never know if it will work out in the long run. It is an interesting idea for a song that is still incredibly positive and forward looking. Limerence was released as the B-side to Ankles and has a very different vibe. It's a slow and sparse, piano driven break up ballad. I'm not sure how it fits into the records narrative; whether this break up occurred immediately before Lucy's new relationship to Julien or sometime before. But lyrically, it is so dry and funny as Lucy describes falling out of limerence with this person while watching her friends chat and play video games. It's so nonchalant while also being quite heart aching, really. Lucy doesn't want to hurt this person, but she just doesn't love them anymore.

While it starts and ends quite well, the record's breezy and listless atmosphere unfortunately floats off into the clouds during the middle section. The subtle vocal approach and twee instrumentation sands off pretty much any tension or drive behind the tracks. Talk is on paper the heaviest track on the record, and while it does feature a couple of great lines, it is one of the most tepid interpretations of 90s alt rock I have heard in a long time. And its not like Lucy is out of her ball park here, there are plenty of tracks from her past couple of albums that go for this style and have way more bite to them. For Keeps through to Come Out just breeze by leaving little impact, and its only when Best Guess kicks off the final third of the album that I come back round to being engaged.

Bullseye is a jangly folky ballad with Hozier that I think works out. Hozier tends to dominate his duets, and with how tame the instrumentation is here that could've been the case on this one also; but he remains restrained and overall I think the song works out quite well. Most Wanted Man, similarly is a duet with Baker. The track initially presents itself as a twangy vintage rocker reminiscent of Revolver era Beatles, but as it progresses it morphs into more of a slacker rock jam with it's loose lo-fi guitar riffs and hazy vocals. You can really feel the energy and chemistry between the two on the song. Lost Time is an earnest and heartfelt slowburn to close out the album. The song starts as a gentle acoustic ballad, but slowly builds into a thick and heavy climax that once again brings back Julien for backing vocals.

Much like Lucy's previous records, Forever Is A Feeling doesn't rewrite the indie playbook - but is a solid, well written album that is a good time from start to finish. It does feel a little lightweight in places, so I don't think it tops Historian as her best. I still like it quite a bit and I think its a great record to have in rotation for the chill summer evenings or slow weekend mornings this year.

Top Tracks: Big Deal, Ankles, Limerence, Modigliani, Best Guess, Most Wanted Man

7/10

boygenius - "the rest" (2023)

boygenius' debut record is probably my favourite new release this year, and definitely my most played. The group has decided to quickly follow-up with this short EP of leftovers from those sessions, aptly titled 'the rest'. I don't have too much to say on the EP, as these tracks for the most part do feel like leftovers. They're a lot more stark and bare compared to the lush and noisy production of the record, and are all pretty short (three of the four songs are under 3 minutes). The core of each song is here, but not much else. 

Black Hole comprises of the first verse from Julien and then jumps straight into the climax of the song before finishing rather abruptly. Afraid of Heights is a more complete song, but beside the country-twang of the guitar, there's not all that much noteworthy about it. Voyager is definitely the best song here, being a text-book Phoebe ballad with gut-punch self deprecating lyrics. The song is slow and spacious, allowing the atmosphere to sink in. The EP closes out with Powers, and the rough mixing and breathy vocal performance from Julien give demo vibes from the song. The song is a good minute and a half longer than the other songs so has some more time to build up an atmosphere, but it still only has a handful of ideas and sort of fizzles out after the climax - with a horn outro bolted on to give some sort of conclusion to the song and EP as a whole.

the rest is exactly what the title suggests, some unfinished studio leftovers. It's fine, but nothing more than a footnote in each artist's growing discography. 

Top Tracks: Voyager

5/10

boygenius - "the record" (2023)

 

As I've fallen in love with Phoebe Bridgers' work following her 2020 sophomore record, Punisher, I've become more aware of her wider collaborations and writing credits. One such project was the 2018 boygenius EP with fellow singer / songwriter friends, Julien Baker and Lucy Dacus. However, considering how much their respective careers have taken off since then, a full record from the trio was not what I was expecting at this point in time. But here it is, and it's certainly worth the wait.

The first taste of the album we got was three tracks, one with each member on lead vocals, dropped at the same time as one single. Each track of three captures a unique style and what each of the three members bring to the table. The first is $20, where Baker takes the helm, leading a noisy and chaotic indie rock jam that has vintage feel to it with its jagged lead guitars and dramatic shoegazy climax with hazy washed out backing vocals from Phoebe and Lucy. Following this is Emily I'm Sorry, which is very much a textbook Phoebe Bridgers' song. The lyrics gently mourn a lost relationship over pillow-y acoustic guitars and a gently pulsating drum beat. It is quite a beautiful song that removes itself from the deflective metaphors and bitterness that comprises a lot of Phoebe's solo work, which is why I can see how it's landed on a record that's got a more uplifting feel and vibe to it. The third of these songs is True Blue, led by Dacus. The way the chiming guitars open up the track after the very low key and murky previous song always reminds me of that feeling you get when you wake up on a warm summers morning and the sun peaking through the curtains and the day is yours to seize and do anything with. The track builds up in layers as it progresses, and just feels very wholesome throughout.

These songs sit in sequence at the start of the record as a showcase of the breadth of the album as a whole. They're preceded by the short intro track, Without You Without Them. The track is a simple vocal harmony piece with no extra instrumentation and feels quite stark compared to the three track that follow. I can't say I love it, it just feels a bit bare and without much connection to the rest of the record. The vinyl version softens this a little with a building synth transition into $20, and I really don't get why its not on the streaming version (maybe to make it more playlist friendly, I guess?).

The two songs at the centre of the record are full-on collaborative efforts, with each member getting their own verse. Cool About It is a damn catchy twangy acoustic country / Americana tune where each member takes turns singing about there own interpretations of what 'trying to be cool' with an ex is. Subsequently the chorus changes each time it rolls around, but maintains the catchiness of the melody. It's an incredibly well written song and has grown into one of my favourites over the couple of months since the album was released. The following song, Not Strong Enough, is the big bombastic centrepiece of the album. The song starts out as classic jangle pop throwback, with quintessentially 'indie' free-spirited lyrics about life bombing past you at a rate you can't keep up with. The track goes at a breakneck pace, building and building with more and more layers of reverb and backing vocals. It's the big, festival ready single of the album.

Revolution 0 kicks off the second half and would fit perfectly on Punisher. It features that same sense of morbidity and spookiness as that record, with the washed out instrumentation and slow, restrained climax of strings and horns and some really sweet backing vocals from Lucy and Julian. Leonard Cohen is a short but sweet blast about the joys of friendship sung by Dacus, focused around the time the trio took a wrong turning on a roadtrip because they were too busy jamming out to the titular musician. Satanist is such a fun 90's power pop tune, with the same playful, tongue in cheek nihilism as the likes of early Weezer. My favourite part is when Bridgers ad-libs "You know what I should do?" right before the cathartic guitar solo. You can just tell how much fun the group are having on this song. It then transitions into a reverb-y, dream pop outro as if the band has tired themselves out on this reckless escaped.

The final leg of the record slows things down, starting with a beautiful lovelorn ballad from Dacus, We're In Love. It's incredibly earnest, wearing its heart firmly on its sleeve. It would work perfectly as a closer, but there's still two more tracks to come. The first is Anti-Curse, which is very late-2000's arena indie. While I like the lyrics of the song, the musical side just feels very played out to me, from the the chord progression, to the pulsating base and drums which kick in the second verse, to the loud shouted final chorus. It doesn't really do anything for me and fills a bit like filler. The final song is a Phoebe one, called A Letter To An Old Poet, and is one of the most brutal she's ever written with lines like " You're not special, you're evil". I love the song in isolation, and it would not work anywhere else on the record, but it's just so jarring compared to the rest of the album which is so much more carefree and forward looking.

That's the only real flaw with the record in my eyes, that it jumps around a lot between styles and doesn't necessarily feel like the most cohesive experience (compared to Phoebes solo output, which is my main frame of reference for the group). But there's a whole heap of great songs on here and it's been in constant rotation for me ever since it's come out. I'm really excited to try out Lucy and Julian's solo work also now, as the vintage indie aesthetics are right up my street.

Top Tracks: $20, Emily I'm Sorry, True Blue, Cool About It, Revolution 0, Leonard Cohen, Satanist, We're In Love, A Letter To An Old Poet

8/10

Wolf Alice - "Blue Lullaby" (2022)

 

I have once again been distracted by my finishing up my degree over the past couple of months, so I thought it would be nice to get back into the swing of things with a quick one. This is Blue Lullaby, an EP of acoustic versions from Wolf Alice's 2021 album Blue Weekend. That album has been in constant rotation for me since it came out and features a massive, cinematic sound with layers upon layers of effects and overdubs, so it makes sense for these songs to gain a different light in a more stripped back setting.

While still technically all acoustic versions, stripped back is sort of a miss-label of the EP, as there is still tons of reverb and choral backing vocals in the mix here. However, the change in instrumentation does really change the vibe of these songs, in most cases offering them up as equally good (and justified) as the original album versions. That's a testament to the songwriting, that they still stand up in a different context. Lipstick on the Glass comes off far more moody and brooding in this context, and the pure heart and earnestness of How Can I Make It OK? still shines through - even though it sounds more reflective than the blast of endorphins provided by the bombastic original.

I think I actually prefer the twangy guitars of Feeling Myself to the album version. It feels a whole lot more personal than the cinematic, sweeping synths and fits the themes of self love way more. The Last Man On Earth, likewise feels closer and more intimate, which certainly works with the introspective lyrics. Its an equally good alternative to the building layers of drama in the original. The only track which doesn't make the transition so brilliantly is No Hard Feelings. The track is already the most stripped back on the album being an acoustic cut, so the guitar is swapped out for a soft keyboard tone. This change in instrument doesn't really change the song up all that much so it ends up having pretty much the same vibe as the original.

Blue Lullaby really shows Wolf Alice's talent by throwing these songs in a different context and they still stand toe to toe with the originals. It's a really great EP, check it out.

Top Tracks: Lipstick on the Glass, How Can I Make It OK?, Feeling Myself, The Last Man On Earth

8/10

Hayley Williams - "FLOWERS for VASES / descansos" (2021)

Paramore frontwoman Hayley Williams struck it out solo last year with Petals For Armor, a mixed bag of a record which flitted between a bunch of styles, from art rock to new wave. This follow up, recorded entirely by Williams herself in lockdown, forgoes much of what that album did for a more stripped back, acoustic pop and indie folk style. What results is certainly a more cohesive and coherent album, if a more undercooked and forgettable one.

The record is framed as sort of a prequel to Petals For Armor, lyrically focusing once again on Hayley's divorce, and her relationship with herself and the outside world; but from a more desolate and devastated angle without the themes of self improvement and self worth that brought PFA out of its depressive slump. The combination of this tonal shift and the low-key, gentle instrumentation makes the record very sombre and isolating, like staring out of your window at dusk, watching the light slowly drain from the sky.

The record certainly has plenty of interesting ideas and moments, but they feel very stark and threadbare. There are textures and motifs which draw me into any given track, but they're not fleshed out enough or remixed to remain interesting for a songs runtime. Lyrically, a lot of the tracks feel underwritten as well. Many of the hooks get repetitive quickly, being simple words or phrases sung over and over with unremarkable melodies.

Some tracks do stick out as stronger than most on the album. Over Those Hills has a stronger sense of groove with more prominent bass and drums, and Hayley's vocals sound less fragile against them than they do on most of the songs. Similarly, the closing track, Just A Lover, is the closest thing to a rock tune on here, and it has some weight and purpose to it that a lot of the tracks lack. The gentle bass and uplifting piano chords gives the song an early Coldplay vibe, before the drums and noisy guitar come in on the back half. It has the same cool, calm swagger as some of Wolf Alice's slower tracks. I just wish it lasted longer, as it's one of the few tracks that could hold itself for more time. HYD opens with a plane flying over, interrupting Hayley, which adds to the atmosphere of the gentle finger plucked ballad about distance and disconnection. It's one of the most structurally simple tracks here, but also one of the tightest. It slowly opens up throughout, with the introduction of piano and spacey, atmospheric backing synths.

FFV is a very tasteful and listenable record, but I feel like it works best when you just stick it on while doing something else without really thinking about it. It hits a vibe, but doesn't really hold up on closer inspection. There's not enough variety between tracks, and they're mostly underdeveloped and unmemorable. They wash over you, and wash out almost instantly once they're done. It has its moments, but not big enough ones or enough of them.

Top Tracks: Over Those Hills, HYD, Just A Lover

5/10

Phoebe Bridgers - "Punisher" (2020)

I know next to nothing about the indie folk scene, with my only experience with the genre being listening to Neutral Milk Hotel's In the Aeroplane over the Sea once several years ago and not really getting it. However, Punisher kept cropping up high on loads of publications year end lists, and combined with the gorgeous cover art and seeing a friend listening to it on Spotify, I was intrigued enough to pop it on over Christmas. It's such a deep yet gentle record that it has been in my heavy rotation ever since, and I'm slowly sinking into its atmosphere and themes with every additional listen.

On the first few listens I was instantly gravitated to Bridgers' personal and introspective lyrics, that are jammed packed with evocative imagery mixing the mundane everyday with elements of morbidity, the supernatural, sci-fi and spirituality. This imagery is supported by really gentle but intricate folk instrumentation that's been produced in a washed out, ephemeral way that makes the record sound like a lucid summer daydream where time feels warped and reality feels blurred and smudgy (much like 2020 as a year). I wasn't as initially hot on the production of the record as I listened at home on my laptop speaker, as I thought it made the songs lose some of their individuality that was provided by the songwriting; but as I came back to uni and listened through a better speaker I realised that it sounds beautiful and actually a crucial element to the emotional intensity of these songs. It makes the slightest increase of clarity and intensity in the instrumentals feel so much more overwhelming. A great example of this is Halloween, a really haunting ballad where low rumbling drums pop in about half way through and just add so much tension to the track despite them being actually very gentle and restrained.

A few of the tracks include elements of chamber folk and chamber pop, making them easily the most uplifting and uptempo of the tracklist. The single Kyoto is this really cute indie rock tune where Phoebe opens singing about her day off from touring in the city, where she uses the idea of payphones being outdated to launch the track into her tumultuous relationship with her father. The track so effectively conveys the complexity of their relationship, flitting between emotions and scenarios. On the chorus she sings "I'm gonna kill you, if you don't beat me to it" backed by triumphant and grandiose horns, which provides a real emotional dissonance but also a sense of bitter-sweetness and joy and makes it effortlessly replay-able and enjoyable. ICU is similarly emotionally dissonant with an upbeat, uptempo swell to it, and on first listen it sounds like a cute love song about an imperfect messy relationship, yet the song is actually about a break-up where Phoebe continued to see this person all the time afterwards, with the title being a play on 'I See You' and intensive care units (ICUs).

The only other overtly loud and dramatic track is the closer I Know The End. The track is in essentially two parts, the first being one of the most soothing and gentle moments of the record. The tones are warm and Phoebe's vocals feel very tired and sleepy, and alongside the dislocated lyrics reflecting the mental confusion of global touring, it sounds like the record is winding down. However, towards the end of this section you can feel the intensity growing, before the track switches - Phoebe wakes up, blaring triumphant horns crash in and the lyrics become more anthemic as backing vocals come in. The track then starts to descend into madness as the horns become more and more dissonant and Bridger starts to wail and scream. It's such a contrast to the rest of the record and leaves a lasting impression that makes you just want to put it straight back on.

The rest of the record is comprised of very gentle, cerebral tracks which feel like they're slowly seeping into my bones. The record opens with the sinister and atmospheric DVD Menu which leads into the first proper track, Garden Song. The instrumental on the song is so watery and murky, with the only clear elements being Bridger's vocals and the plucked lead guitar. The track describes this garden that Bridger's explores as she introspects about herself and others. Halloween is one of my very favourites on the album, as Phoebe begins the song discussing how she hated living by a hospital with some really morbid imagery delivered in a semi-creepy deadpan way. The track then moves on to the idea of Halloween and costumes as something that she can hide behind like she feels the need to in her relationships. The instrumentation of the track is linear, starting with just an eerie plucked guitar before gradually building to its subtle crescendo. Chinese Satellite similarly has an entire verse dedicated to how Phoebe would go to the extremes of joining an evangelical church and picketing in the streets just to see this person, who has passed away, again. Savior Complex takes a more sarcastic approach to the themes of failing relationships. "I'm too tired, to have a pissing contest" she sings in the chorus. The sweet acoustic instrumentation and Phoebe's sincere vocals really compliment some of the more aggressive lines in this track.

Punisher is such a quality album with so much depth and subtlety to both the instrumentals and the lyrics and themes. It continues to grow on me with every listen, and feels so cathartic to listen all the way through. 

Top Tracks: DVD Menu, Garden Song, Kyoto, Halloween, Chinese Satellite, Savior Complex, ICU, I Know The End

9/10