Distilled Beauty

Edging its way in with creepy guitar slides, shutter-like percussion and the exceptionally eerie atmosphere of 'Never Know', 'These Things Can't Hurt You Now So Throw Them Into The Fire' has the terrifying aesthetic of horror movies; it makes the hairs on the back of your neck stand up, but you're utterly compelled to continue listening.

A darker, more sophisticated sound runs through 'I Abort', as fragile piano notes intersperse the driving guitars and careening, harrowing vocals. 'Fading Softly' is tender, fragile and floats into your ears like a delicate snowflake: unique and beautiful. A spectacular array of instrumental sounds come together in this album, with 'Fading Softly' showcasing warm tubular bells and serenely echoing guitars; it's a very ambient sound, but it's extremely evocative at the same time.

'Demon In The Wheels' beautiful, sentimental lyrics, "I pushed the right pedals and I gave you my care/I look to the passenger seat and you're not there" could reduce even the most hardened metal fan to tears through the lovely folk lilt Andrea Kerr's voice takes on in this track. The track eventually invokes some heavy, crashing guitars that thunder through the piece as the delicate calm is smashed into smithereens; this is certainly an album that can't be listened to passively as it drags you through a wide range of edgy emotions.

'I Talk To God' is one of the most powerful tracks on the album; with a buzzing electronica its seductively dark and tempting yet pensive vocals culminate in a delicious chorus of calling overdriven riffs. 'Feeling' alternates between the humdrum noise of a busy location and the fragile vocals and chiming piano of the tune, these two polarities making the aching music even more precious.

'Menace' strikes a slightly lighter, more melodic tone that even has a hint of upbeat emotion stirred in as contrast, the lyrics, "Like a car crash, you're exciting, dangerous to touch", play easily with simplistic language to form something that reverberates far more deeply.

'Dark Nevada's slow and mesmeric intro builds up the eerie, trembling tension before it surrounds the listener in a blanket of icey, chilling sound, echoes of tubular bells and tinny organs. 'Body Bag' features the same kind of paragon of the dramatic; rising from the dirge-like synth strings to a slow, to send a murmur of guitars and smooth vocals soaring up in the ether. 'Envy' peaks in another raging tempest of banshee vocals and ecstatic guitar hooks before returning a melancholy, brooding verse.

'Death and Sequins' is the perfect closer with a catchy driving disco melody that still finds the time to drift into a thoughtful, atmospheric verse that draws you into the very fluttering heart of Colt's music.

There is no generic tune on this album, all manner of sounds and structures are played with, creating a fluid effect to the whole album. The most striking feature is the range of emotions and how seamlessly they wash over the listener and hypnotise with the sheer beauty of the music, despite how minimalistic some of the tracks actually are. Rather like Katie Jane Garside's gypsy sister, Andrea Kerr enchants with her stunning vocals and hypnotic tones. Living With Eating Disorders reincarnation as Colt is complete, and they have risen from the ashes renewed, refreshed and full of grace.