The new Antipole's album is an anthology that collects all the former digital tracks along with six new tracks, all fruit of the collaboration among the historical nucleus formed by Karl Morten Dahl and Anne-Christel Gullikstad with Paris Alexander and Eirene, that despite they appear as "featuring" they are likely part of this group, that seems to have finally found, after some collaborations, a stable singer for its music distinguished by the emotional guitars emotional full of reverbs, that swing among shoegaze and the most introspective tracks by The Cure.

The album is opened by "October Novel", where the initial bass line fades into the echoes of the guitars and a duet singing that sounds like the invocation of a deep desire.
"Shadow lover" it is a track full of romantic love, where you will point out the contrast between the words of love and the malinonia of the music, as if the affective  legacy brings a light that shines in the darkness, a sweetness that succeeds in painting a smile in a tenebrous heart. In "Dans the entrée" the guitars become faster compulsive, with the voice that at first appearstimidly  then it's exalted in the central part of the track, and it becomes like the call of siren in the end.
"Summer never ends" is embellished by the contrast among the danceable rhythmic base, the very dark guitar and the almost industrial effects that give to the whole r a sense of dynamism, of movement toward something warm, as precious as a ray of sun in the norther lands.
"Reflected in you" has some riffles that remind of "Faith" without having its gloom; as if this song's faith would be in an almost symbiotic creature and not an abstract belief; the piece has a sweet atmosphere, amplified by the voice that almost obsessively repeats "I see myself reflected in you."
"Magnolia skies" is opened by the voice of Eirene that repeats "catch me" and the guitars that play a crescendo that summons the vision of a run loaded of expectations and dreams toward that call.
"All alone" swings between goth and a rock ballad, with some subliminal reminders to a lot of faces of dark music.
"Le Châtelet" it is one of the tracks closer to the melancholy instrumentals of the band's debut; here the production is light and the intimate guitar  stays in the foreground accompanied by a deep voice that amplifies the pathos.
In "Someday 45" the guitars serve as counterpart to a strong rhyth line that gives a halo of tension to the track, becoming almost close to EBM in the central part.
"Narcissus" is dark and deep, as an exploration of theunconscious  at rhythm of the bassline and of scratching sound of the guitar.
"Distant fall" has deep new wave sound , with bass and guitar parts that pass from a crescendo to a fading sound, embellished by a cold synth that starts from the initial background to become the only instrumen of the last seconds; as if it would represent a fall in an abyss of ice.
"Closer" it has a rythmics base that sounds like an heartbeat, accopained by the guitar and the voice of Eirene are inserted, sweet and distant, like the one of a fairy that talks from an onyric universe
"Please let me sleep" has a rarifed atmospheres created both by the reverberated guitar and from the remote voice that give a dreamy halo to the track.

The intense instrumental cover of "Insight" closes this album, as to remember us that music doesn't need words to express feelings.