All the lyrics are composed by singer Miqu, whereas a choral work was done pertaining to the music composition and arrangements.
All of them deal with stories and situations often reflecting what happened in the world during the corona pandemic years, which are in detail as follows:

* a boy who regrets meeting a Doomsday girl as he finds out she's seriously messed his life up.
* a foolish girl reading sociology, criminology and psychology books thinking she could then save the world from the powerful wicked who rule the world hidden to create a New World Order, while we don't even know their names.
I personally loved this kind of topic, which I unfortunately find quite relevant to the present moment.
* a couple that survives a monster fighting with courage in a night apparently blessed by a starlit sky.
This might seem the plot for a typical monster B-movie, one of those in fashion in these last years.
* an ex-good girl who has embarked on a path of self-destruction, losing her innocence and earning nothing else than scars.
* hallucinations spread all across the globe, lack of a real, complete communication, since bad criticism isn't tolerated nowadays.
* love and admiration for a diving and rebellious girl.
In particular I found the sentence 'She's a rebel just because of the way she dares to be unique' splendid.
* somebody who is observed by someone else crazy and paranoid.
* an outsider by nature and choice mocked by stupid mainstream people, who he couldn't care less about, a rock 'n' roll freak, and a dreamer at the same time (another awesome lyric).
* a telltale girl who told her mom about her sister's relationship with a cheerleader.
* insanity blurring the devil so that he seems an angel.
* lonely bored folkswaiting for a call from a lady.
* Virgin Mary who is a ghostly and devilish creature to the eyes of an atheist.

The opener immediately clarifies the new course of the Finns, with an unrestrained Honky Tonk piano, Rock 'n' Roll galore blended with a Punk guitar. "Doomsday Girls" is also accompanied by an official video portraying a girl who hangs around until she finds a victim to torment.

Police sirens and a megaphone announcement kick off "Riot Zone". Here things get heavier and the vocals turn more drunken before the refrain which recurs to an old Punk feeling. It's then time for a New York Dolls-inspired riff, a Pop Punk break, and finally a vaguely Ska fragment. And when the refrain returns there's the last opportunity for some healthy slam dancing before the sirens and some indistinct vocals close the composition.

"Clash in the Night" begins with a lightly distorted guitar in the vein of the more melodic Green Day, and afterwards the rhythmic section pops in with all its power, along with the guitar and a keyboard line in the background.
This piece is a bit melancholic, a tad longer than the average of the others here included. Noteworthy is the passionate, melodious guitar solo with a classy tail, as well as the catchy conclusion of this third track.

Another number matched by a lyric official video in which Plastic Tears appear playing in studio or in company with some Finnish beauties, "Look of Lies" lies between Rock and Punk like only a nursery rhyme could, one of those easy to learn. The second guitar, acoustic, points out the feelings evoked by the track, whilst the pleasant and brief guitar solo stands out thanks to its crescendo.
One of the highlights of the album hands down.

Refined and gifted with hints of Rockabilly and Jazz, "Hallucinations" is a mid-tempo song ruled by bass, displaying finger clicks, stops 'n' go, sighs and moans, as well as delicate vocals, as if we were listening to a sophisticated version of the latest Iggy Pop in the refrain. The guitar solo reveals itself to be top-notch thanks to both its simple effectiveness and its ability in separating the notes so that they can crystallize in our minds. What an amazing tune full of groove, rendered a masterpiece by the precious and accurate drumwork and all the refined vocal nuances delivered!

"Divine" is one of those lively-rhythmed compositions that reminds me of Alleycat Scratch's and early Wednesday 13's style right away, but there's again something that brings back Green Day to our memory in the guitars and the vocals when they are not nasal and the pronunciation not excessively lisp. Great conclusion with a pair of tom-tom whips and a reverberated guitar stroke.

For those who thought that Melodic Punk could also be stalwart were an oxymoron, here comes "Radar Eyes" to prove them wrong. The arrangements deliver a perfect refrain you have no choice but to adore it, a varied, coloured and incisive axe solo; still, I'm aware some people will probably appreciate more the precise teamwork of guitar, keyboards and backing vocals during the piece till the final whisper.

The main riff, one of the key ingredients that is the master of "Restless Outsider", deserves to be mentioned along with the refrain, fit to be sung alone or live. There's also space for a fill on the tom-toms before the guitarist engages in a speedy solo.

What can be found in "Nobody Likes A Crybaby" is Glam Rock with robust drumming at the beginning and before the finale, an involving refrain enriched by stimulating piano notes that give us the idea of taking part in a big party. The first guitar solo is easy-listening, the second is more rocking and more interesting. The break in the last instants grows giving the impression that more and more people are coming to the pool and you're being invited to drink and dance, too!

Demonic voices ensued by a gun cocking and then a shot initiate "Candlelight Hate Affair", decidedly my fave song. Dreaming, hypnotic, atmospherical, utilizing some reverberated guitars, full of heartfelt vocals that show Miqu's skills like nowhere else on this album. Sometimes they sound close to the latest Green Day, especially in the verses, while on other occasions they appear rather vampirical or Murderdollsesque (due to the effect applied), and during the refrain they make us think of some records from Dogs D'Amour and Michael Monroe that we haven't played for a long while.

"Communication" is the third song blessed by the enhancement guaranteed by an official video, where the 5 guys play live, have fun on tour or are dealing with different sorts of communication media. Frantic, intense Punk under 2 minutes of length backed by a memorable refrain and furious drumming in the closure. This is a track that was originally demoed in '98 and you can understand from the very first seconds that it's clearly different than the others.

The minstrels of sad Punk finish the full-length with "Imaginary Virgin Mary", a composition where the vocals are multiform. At a certain point you'll also find a break with keyboards and whispered vocals preceding the comeback of the refrain, this time more aggressive, closed by piano lines played as separate as possible in time in order to stress out the approaching of the impending end.

Although my CD copy is signed, the biggest value lies in the fact that it's the nth witness of a well-established Scandinavian high quality Rock 'n' Roll tradition that encompasses several subgenres. That's why I'll def look for older stuff from the Helsinki quintet.