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It's a kind of geek indie in modern terms, but the principal wonder of the album is that, in very distant 1980, Tony Mansfield and crew had managed to compose and record something that modern indie bands (with cozy DAWs, but without brains and fantasy) can't output. Oodles of creative fantasy in the songs: pitched voices, ring modulators, multi-layers, reverse audio and so on. And everything harmonically packed with very laudable sound mastering (right compressors, sane sound levels, not just stupid tube saturators on every instrument like in modern indie!). Amazing for 1980, 5 stars!

Splendid album with sincere songs and warm guitar riffs/tones. Not overproduced (as many 80s albums) and sounds top-notch even in 2022.

The laudable comeback from TAAS - the band had plunged into neo-psychedelia territory on this very album with song patterns reminding of "Mazzy Star", "The Charlatans" and even "Labradford". Kudos to the album's audio-engineers as well - its mixing/mastering is brilliant!

"The Only One" is one of these epochal ballads from 80s - magnificent song! The entire album is gorgeous, with "epic drama queen/love train catastrophe" feeling.

Exceptional album, especially for 1988. Complex post-punk, psychedelia (and even sort of psychobilly!) with non-generic songcraft. Very interesting rhythm breaks. Fav songs: "Run Letter" and "Downtown".

The album is: 1) Grungy 2) Proggy. Heavily reminds of "King's X" stuff and it is very funny that the album cover has "KING" street sign. Anyway, very good album with a lot of hooks and a kind of 1994 golden era of grunge songcraft level. RIYL: "Tantric", "Skin Yard", "Alice in Chains", "King's X" and so on.

Great album, but it sounds like a wave of shock for metalheads, because the sound production is akin to "Spandau Ballet" and British new-wave bands: synths, sweet harmonies, pop hooks and so on. Some songs remind of Stevie Nicks' 80s oeuvre. I have listened to the expanded edition with demos included. You definitely gonna love this album if you are fond of chillwave, Japanese city-pop, retrowave and similar stuff.

Talking in modern terms, the album can be characterized as "post-hipster-retro-indie-psych-pop-soul-folk".
The songs here have great basslines and drum parts, the sound mastering is outstanding with incredible cast of session musicians (Steve Gadd, Neil Jason and others) attached.
Fans of such indie bands as "Mild Orange" and d'Eon (a forgotten friend of Grimes) will definitely like this album.
■►Favourite tracks: "Sail On A Rainbow" (great psych-soul with "Mild Orange" vibes) + "Take me away" (just a great proto-doom song as if written for Ozzy Osbourne, no kidding!).
■►Track of hate: Bright Eyes (sounds like a generic song for Eurovision).

Extremely tedious hipster R'n'B. Not utterly bad beats, but everything gets totally ruined, when Rhi launches her mumbling with her anti-charismatic, addled, bleak, tired-of-existence voice. The album is a real torture in terms of vocals.

Masterpiece alt-dance/math-rock/art-punk album with pretty memorable rhythmic arps (and even D'n'B borrowings in "Red Socks Pugie"!). And a good reason to vivify memories about "Long Fin Killie" sound - "LFK" was equally gorgeous back in 90s. FAV: "Olympic".