Equal bits melancholy and groovy, SOM’s The Shape of Everything is a dash of shoegaze, a hint of doom, and bits of pop mixed together – imagine if the rhapsodic qualities of Tame Impala’s Innerspeaker were to meet the electro-dreaminess of Deftones’ White Pony. Although the instrumentation skews slightly toward alt. metal, Will Benoit’s vocal delivery and treatment adds a poppy techno character, with the industrial grit of growling bass and tremolo guitar flowing with definite melody beneath the lush texture of the instruments. Overall, The Shape of Everything is an album that demonstrates focus and polish, yet in the same process, does unfortunately also establish itself as somewhat monotonous. It’s not that it’s not well crafted music; each song executes the requisite hooks, choruses, and bridges. Poppier numbers like “Clocks” and “Wrong” paring back the instrumentation for more vocalized verses before returning to the airy thunder that characterizes the album, whereas “Animals” and “Shape” lead with more guitar-dominant mojo. In its total though, the album does, at times, start to run together – perhaps the victim of the demonstrable polish in its production. If you love the niche between its genres, you’ll love the album, but you may realize you’re several songs in without any big changeups in the energy. However, sometimes this consistency is just the hallmark of focused songwriting and production. SOM deserves full kudos for the flowing atmosphere that The Shape of Everything readily instils.