The title track is also the lead-off number, and lures the listener with a gentle and serene pop-infused song imbued with a dream-like quality and hidden depths which hint at currents of tension. Sparse yet murky shoegaze, ethereal and detached, immersed in a world of the band's own creation, it’s haunting and graceful. It's also subtly compelling, and sets the tone that continues through 'Nailed to the Floor', a sweetly dreamy yet shadow-casting number in waltz-time, while a crunching, clattering industrial percussion provides the backdrop to the Portishead-like 'Empty Rooms.'
Whilst mining a seam of darker territories, 'Perfect Life' avoids dreariness or becoming depressing through imaginative songwriting and avoids the common pitfall of the songs all sounding too much alike. 'Waiting' has a nice rumbling bassline and backed off yet choppy guitar, over which Lina sings 'you wanna kill me?' and it sounds like a taunt. It's seductive and threatening at the same time. There's lilting indie-pop with melancholic undertones on the wistful 'Everyone You Know' and the closer, 'The Guardian', is a spacious, reverby miniature epic that shimmers, revealing new facets and shades with each listen. It's a fitting curtain-closer for an album that definitely fits the description of 'a grower'.
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