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One mistake you could make about Sisyphus is going into it expecting it sound like one of its constituent parts. It actually blends together contributions from Sufjan Stevens, Son Lux, and Serengeti, in an unexpectedly coherent way. However, the place I found myself consistently at with Sisyphus was that, although I could see what was going on, it wasn't always clear why.

Even just trying to express this is difficult, as it's not just a case of 'why', like a difficult toddler when faced with sea for the first time. Deconstructing the album is tough (I'm aware that this is what I'm here for), and after spending so long with it, the only reason I could find to as to why this was hard, was because it never really attempts to invite you in. That's not to say that it isn't warm, or personal; it feels more like a group who are trying to make something important, but more for their benefit than yours. That may be the album's legacy, and there is absolutely no question that you won't see it influence the members of the group in the future.

There are some gold moments, and luckily, giving the nature of the record, they will stick with you much more than the negative ones. Take the opener, 'Calm It Down', a funky, ambitious number, which goes in so many directions throughout its play-time, it's incredible that it manages to feel consistent enough to be just the one track. The notes from my first listen of the record had me describe 'Rhythm of Devotion' in one word, 'cool', and it's the overriding feeling you'll still get on your umpteenth listen, I'm sure. 'Flying Ace' is easily the most accessible track, with some really beautiful melodies texturing Serengeti's rich vocal line. 'I Won't Be Afraid' is the most recognisably Sufjan Stevens-led track, and could easily be an outtake from The Age Of Adz. It's a great track, even if it doesn't really scan on the album itself.

However, the negative moments are there. There's 'Take Me', which comes after opener 'Calm It Down', and almost undoes all of its good work. It feels slow, and doesn't really showcase the band's strengths (which is all the more noticeable sandwiched at the start of the record, which is otherwise consistently good). There's 'Lion's Share', which actually does manage to gel together the band well, but unfortunately feels a little too Flight of the Conchords, and so makes it a little hard to take seriously. 'Dishes In The Sink' feels a little forgettable, one of the latter tracks, as it meanders just a little too much around. But, even these missteps are interesting. Going back to what I mentioned before: this is a really hard album to try and get in to, but when it does all click, it feels good. Sometimes it's just hard to tell whether the effort you're putting in is being rewarded or not.

The last track, 'Alcohol', is probably the album's greatest success. It manages to perfect the formula (whatever that is), and the result is a track which is clever, unique, and enticing. It feels like a true collaborative effort, and it's strength may, or even should, spur you on to try and gleam more from the record. Because Sisyphus, as a project, feels like a bit of a shame at times. It feels a tad neglected, a little bit under-nourished. Is that a tragedy? At times you feel like it isn't, like this was just going to be the way this one went, unfortunately. That at its best it is a novelty, one which carries a little bit of charm, but at its worst it just doesn't evoke anything in you at all. I'm going to bring up Sisyphus himself - the Greek king tasked with pushing a boulder up a hill for eternity, only for it to roll down again? That's how this record feels at times; you push and push, trying your best to understand what's going on, and you just don't get anywhere.

The ideas here are really interesting, and it is worth spending time with this creative record. Just maybe not as much as you'd hoped.