TAU and The Drones of Praise opens unremittingly with „It's Already Written“, a one chord scorcher full of mantras inspired by the theory of the cosmic serpent and its relation to DNA theory. Giving a taste for the rest of the album to come, it mixes Sean Mulrooney's own potent brew of esotericism with droney, psychedelic dance numbers. The song is powered by some amazing muted harp work by Andy Aquarius that sounds like it's straight out an amphetamine dream sequence. Also peppered over this brilliant track is Pyramid frontman and 70s Chicago freejazz originator Idris Ackamoor's own cosmic saxophone interpretations, making this an instant classic of the genre.

„Tonatihuh“ goes deeper into TAU frontman Sean Mulrooney's personal alchemy, delivering a sermon against greed and misconstrued masculine energy through a drone informed by Berber rhythms. A calm whirlwind of influences, the stony voiced Mulrooney sounds like a hip-swaggering Nick Cave while the chorus echoes in Nahuatl, an ancient language still spoken in Central Mexico. Sean is at his best when he is simultaneously channelling his own Irish heritage mixed with the fruits of his own travels, and while the arrangement of Tonatihuh comes from Northern African and Mexican origins, the text is influenced by Irish writer John O'Donahue as well as Terence Mckenna and his fierce peelings from the skin of manipulative, power-focused agendas.

Going deeper into his roots, „Craw“ - derived from old Irish slang („something's stuck in yer craw!“) meaning something needs to be purged or set free - is an inimitable jewel within TAU and The Drones of Praise's treasure chest. It shows Mulrooney's vulnerability of accepting that his outward venture to find hidden knowledge led him finally back to his own Irish tribe and heritage. The string section of this song, composed by Rory Mckee is what makes this track truly remarkable: it is at the same time hollow, stabbing and tender and relatable to John Cales' eerie arrangements for Nick Drake.

„New Medicine“ is a reminder that TAU's conception was in the Berlin Psych scene. Sean was a centripetal force in Berlin's early-2010's motley psych crew, a time when a shortlived period of renaissance was abound in the city. He was instrumental in linking old masters of German Krautrock with new recruits and as a result produced Mueran Humanos' and Camera's first record. His involvement with other luminaries (Damo Suzuki, Dead Skeletons, NEU's Michael Rother) developed an identifiable sound during this period that was uniquely Berlin-Scene. “New Medicine” is precisely the vibe from those memorable summers. Similarly Sturgeon is steeped deep in this German influence, itself sounding like a lost tape from a stoned Faust recording session, left to gather dust in their rural Wümme barn.

„Erisitexnis“ - a ponderous Greek term made up of the words Eros (love) and Techni (art), which combined, significantly means „amateurish“ or lover of the arts. This title couldn't be more succinct: The song fuses Sean's love of traditional Greek song structures and figures such as the Cretan legend Psaradonis – with the endearing, optimistic interpretation of mysticism reminiscent of late 60s culture. Award winning Indian classical violinists the LN Sisters also significantly contribute to this piece.

Finally, the album simmers into a beautiful elegy, in the form that many artists have grasped with – a letter to one's younger self. In „The Seer“, Sean talks directly to his 10 year old nephew, who may as well be a younger version of himself. The song is a promise of greater things, a note to look up to the sky, the greater world, when things seem complicated or impossible. The mood is unlike any other song in TAU's playbook, and is a poetic, heavenly berceuse to lull one into soft, protected sleep.