The first half of the album is superb post-hardcore, with Wallace's production helping the growing vocal confidence of Simpson and Westaway and Abidi's percussion providing weighty accompaniment to the vicious riffs. Though Deathcar's an outstanding headbanger, it's also a snapshot of the album's failing. The tendency to slip into the genre convention of sludgy opening riff followed by tuneful verses and soaring refrains would be more acceptable if said riffs were anything to write home about, but they're too often so uninspired and anachronistic that you dread their post-chorus return. It's a pity, because the opening seven tracks and the intriguing climax show the band's immense talent. Good, but not quite great – yet.