It's safe to say that Thought Forms don't care about expectations. Their new album pulls in so many different directions (and seemingly all at once) that it's difficult to know where to begin with it. The Bristol trio sound like several different bands on Ghost Mountain, but their approach to making music is hardly scattershot. Here is a band who aren't afraid to flex their creative muscles and keep their fans - as well as themselves - on their toes. Everything from drone and doom metal to psychedelia and space-rock is touched upon on an album that is by turns intense and massively uplifting. The crushing wall of guitars that opens 'Landing' hints at the record being a surprisingly heavy affair, but within 80 seconds, it has calmed down and settled into a funereal pace, with lead vocalist Charlie Romijn's vocals buried in the mix as she switches from a clean style to impassioned screaming.

By the time we get to the album's third track, however, Thought Forms have morphed into a 90s alt-rock band, with 'Sans Soleil' offering up a ringing guitar hook and murky production, giving it a slightly subdued feel that suits the track nicely. It fades into 'Burn Me Clean', a 13-minute track right at the centre of the album that moves at a glacial pace, an eerie, psychedelic slow-burner that dissolves into sludge metal riffing and a palpable sense of dread towards its finale. It's a truly captivating track that, once again, sounds like it was written by a completely different band. The album's worth it for this alone.

After that, apropos of seemingly nothing, the up-tempo scuzz-pop of 'Only Hollow' arrives for a moment of respite. It may come across as confusing, especially sandwiched in between 'Burn Me Clean' and the dreamy ambience of 'Afon', but is well able to stand up on its own. As an album, Ghost Mountain works well, as it shows that the band aren't afraid to take risks, but the songs work just as well by themselves. Case in point is 'Song for Junko', which is one of the tracks on which drummer Guy Metcalfe is truly able to make his mark, a bolt of energy on an album that's often content to take its time. It races through its seven minutes, setting up the stately 'O' as the album's finale, which shuffles along for six minutes before bursting briefly into life for a noise-filled finish, a rather satisfying pay-off for an album such as this. The slow tempi featured on Ghost Mountain may not be for everyone, but those who enjoy being constantly surprised will get quite a lot out of it.