Clean. Everything is clean.
Even on tracks that have a more grungy or dirty sound (e.g., “Get Confused”), their choices remain clear and clean. I am never aurally confused or overwhelmed as a listener.

Every transition is nicely done.
Every different and disparate sound they stick in there fits—even if it’s in complete contrast to other sounds on the track. Especially if it’s in complete contrast. Those are my favorite choices.

Through-line. (The “Big V”.)
The Album, albeit perhaps softer or mellower, is complete. They pay enormous attention to details, and it shows: it all flows together quite nicely. I never get tired of listening to it in its entirety.

Dynamic Range.*
These guys understand the importance and value of Dynamic Range. In every sense of the term. In the types of sounds, and its intensity.

And they are theatrical sounding indeed. I suppose that’s why I like so much of their music. O, I can’t wait for the next album. In the meantime, #1 and Odyssey will have to hold me.

~dk

*– This is a current sore spot with me.
So many great new artists are sullied by record labels that think LOUDER IS BETTER (e.g., Jem’s album, Finally Woken). Compressors and Limiters—frequently employed during mastering—are being used in ways that ruin and destroy all dynamic range. This article explains it all nicely.