Tremendous. Absolutely tremendous. Harry has crafted an ambient record that is familiar but new, laden with warm synthesizers and spacial effects arranged in a tapestry of deep colors. The final three pieces may be the best, an outflow of introspection that would be at home with classic 70s ambient sounds.

DeMello's second "real" album is completely ridiculous. It's all over the place, but yet feels cohesive as a whole. Less of a smorgasbord and more of a cheap, dimly lit buffet with the staff watching what you're nervously deciding to eat, grinning madly as you put the greasy leftovers on your plate... there's nothing quite like it. Despite all the genre blending and shifting, it's all surprisingly focused and flows together like the soda from an old fountain at that weird buffet.

DeMello's first record is a deeply personal journey, and one that will continue to surprise upon revisiting. Though it appears to be a singer-songwriter record at first glance, the record subverts the cliches of the genre. You'll hear elements of prog, classical, and indie rock through the lens of Brian Wilson along the way. There's nothing quite like it.

I can't say it enough. This is the best prog album of the 21st century, hands down. There's so much in this music... there's nothing like it. The music is filled with daring moments in the arrangements, executed perfectly. Despite the album's brevity, its sensibility as a masterpiece only becomes more apparent with each subsequent listen.

An album of extraordinary detail that may at first appear to be trashy psychedelia is so much more. Bunnies crafted a once-in-a-lifetime sonic comet.