Bedhead hit their stride with their second full-length which captures the band at its beaming peak. Bedhead were struggling to escape the “slow-core” label that critics had used to brand similarly languid contemporaries like Low and Codeine, and the album shows the band broadening their range beyond any of their previous work (or their peers, for that matter). Every song glows as if recorded in a well-worn, high-ceilinged living room, and the subtle details on songs like “Beheaded” and “Lares and Penates” bring the band’s intricate three-guitar designs into crystal focus. “Withdraw” slips forward on slide guitar and rimshots from drummer Trini Martinez, while the scurrying tempo of “Felo De Se” diguises its morbid subject matter (“Felo De Se” is an archaic Latin translation of “suicide). Meanwhile, “Left Behind” might be the band’s all-time best song. Picking up where “Bedside Table” (from What fun Life Was) left off, the song’s layers of contrapuntal guitar gradually converge to flesh out a portrait of labyrynthine melancholy.