This confusion could be as much to do with the sound quality as it is to do with any intent. Indeed, although those comfortable with a black metal tag may pride themselves on an ‘underground’, lo-fi sound, the results can often feel like a bootleg that struggles to define the musical ideas at play. And this unsatisfying fog plagues ‘Satisfaction…’. It opens with ‘Mundane Dreams About Flash Floods’, immediately consumed in squealing feedback, scratchy and restless, before settling into a cloud of strumming, FX-laden guitar chords so tinny and distorted that it amounts to no more than a brief, static buzz. ‘I’m Sorry – It’s Okay’ suffers the same obscuration where its thrashing guitar, lacking any bottom-end, all but hides a layer of blast beats and whispered utterances, as if played through a transistor radio.

Occasionally, the distortion levels are dimmed to reveal song fragments, like on ‘North Point Misery’ and ‘No More Bonfires’ that could both masquerade as outtakes from a Dinosaur Jr rehearsal. Repeated listens reveal similar vignettes across most songs that tend to take a simple, repeating riff and throw it under brittle distortion and swathes of reverb to see what happens. And for the most part this bleached, mid-range guitar mesh dominates, but once or twice it stands down to reveal more affecting layers, like on ‘Hyalophagia’ where a haunting eeriness is achieved when disembodied voices, both slowed and reversed, weaving around a distant bagpipe refrain are allowed to rise to the surface.

In the main though, the album has an embryonic feel with a DIY attitude and unpretentious drive, as if Lonesummer pounced on his equipment at the first glimmer of a musical idea without rehearsal or refinement, quickly ensuring he records the raw beginnings before they become tainted by cognition.