The album’s title track “Run” opens with synths reminiscent of Megalithic Symphony. It starts the album off on an ominous note but relieves the tension by moving into an unexpectedly rough guitar riff. The track “Hollow moon (bad wolf)” is the first single from the album and the song’s punchy vocals are reminiscent of the hit single “Sail”. The track also offers an interesting music video that was shot in one take. Its upbeat and bubbly melody disguises some slightly dark lyrics and this element becomes a golden thread which runs through the album.

 

The track “I am” features a gentle melody that bleeds into sharp, anguished vocals in the chorus, yet manages to seamlessly flow back to the placid melody from before. Other tracks on the album that tend to be more slow-paced include “Fat face” and “Jailbreak” with its relaxed piano and drum accompaniment in the introduction. “Headrest for my soul” is an introspective and wistful song with an acoustic introduction which plays like a slower version of “Guilty filthy soul”, another track from Awolnation’s debut. After these pensive tracks the short, explosive track “Dreamers” picks up the pace with its frenzied tune and fiery vocals.

 

“KOOKSEVERYWHERE!!!” is a track that gives away its fast pace in its title. The song’s speed is further driven by aggravated drums and jagged vocals. It slows down towards the chorus but it does not lose its angry undertone.

 

The track “Windows” is a mixture of intense lyrics and almost choral vocals which chime in the background. It is one of the album’s standout tracks and is a song that evokes images of mental torment, which is sure to activate an emotional response in the listener. The rapidity of this track is slackened by the song “Holy roller”, a song that listeners can easily close their eyes and daydream to.

 

The moderate pace of the track “Woman woman” evens out the conflicting atmospheres of the songs that precede it. While Bruno’s barbed-wire vocals still shine through, they are slightly tamer than before.

 

Another highlight on the album is the track “Like people, like plastic”. Its bubbly introduction prepares the listener for its assertive verses but not for its almost Beatles-esque chorus, which makes for an interesting amalgamation of styles.

 

The album’s closing track “Drinking lightning” offers a light, soft melody that lulls the listener into a relaxed state, despite its hot-blooded title. The jumpy harmonics are the only lively elements of this track. It is only at the end of the song that the pace picks up slightly, but only for a moment, as the lullaby melody resurfaces just as the song fades out. As the song ends listeners can hear a friend of Bruno leaving him a voice mail, ensuring that the album draws to an interesting close.

 

As a whole, the tracks on Run might be an acquired taste for new and established fans alike. Although it might take a few listens to grow on fans, it contains a number of hidden gems.

 

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