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Named after a particular instant in a Melvins song, 2:54 could also be interpreted as a moment in time when it's too late to sleep and too early wake, when the brain doesn't function as usual and is consumed by a thick fog of delirium. A blissful out of body experience, a panicked longing for physical reconnection; insomnia induced psychedelia. The Thurlow sisters have once again crafted a fine album of atmospheric dream-pop that sporadically slips into the haze of nightmares.

Two years on since their self-titled debut, The Other I is 2:54's sophomore release. Two years is a long time for a band still at the very beginning of their career, but Colette and Hannah have spent the past 24 months wisely. They have worked on their skills as songwriters, moving away slightly from the gothic and gloomy ambience of their first release and creating a stronger, more structured entity.

Building songs around riffs rather than mist, The Other I is a melodically driven affair, songs such as opener 'Orion' split into distinct sections, some glistening with breezy vocals enveloped in reverb, others propelled on proto-punk guitar lines. The shifting dynamics represent the dualistic nature of The Other I - a title which in itself was inspired by Shelley - an album of sisterhood and the deep communicative connection that these relationships possess.

The first half of The Other I is built on a rugged percussive foundation overlaid with delayed, fractured guitar stabs, psych-solos and vocals that weave through a labyrinth of differing melodies and disparate emotions. 'In The Mirror' bristles with resentment whilst 'Sleepwalker' shudders in fear of the unknown. The Other I explores emotional and psychological fears and seeks the requisite therapy through musical kinship.

The spiralling, interweaving vocal harmonies and incantations on 'Tender Shoots' sets in motion an spiritual shift in the album. The outlook seems brighter on the second half of The Other I, the general mood becomes a more positive one. From the acoustic jangle on 'The Monaco', the frantic punk energy 'Crest' and the uplifting guitar motifs on 'South', the Thurlow sisters decide to fight against the onrushing tides of misshapen love and misplaced nostalgia. Before turning once again to gothic dourness with the melodramatic, industrial drone of closing track 'Raptor'; "One more turn and then I'll go / The end, the end, the end is close."

Whilst making a discernible attempt to liven up their song-craft, 2:54 has definitely returned as a stronger, more endearing band. Sometimes the experiments don't work, as is the case with the borderline infuriating gothic glam-stomp of 'Pyro', and sometimes the lack of varied instrumentation lead to the album sounding somewhat stale, especially if your not a fan of the genre. However, fans of the first album will gladly receive a refined development on their previous effort.

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