Let me start by saying that "Motion" and "February" are the only pure blood Jesus Jones tracks in this album. These tracks must have been reminiscences from the Perverse era, time where they were at their artistic peak. But "Already" suffered a lot from EMI interventions. We get here more poppy and happy songs on this album, and they are very good: "The Next Big Thing", "Run on Empty", "Rails", "Top of The World", "Wishing it Away". There are no fillers. All of the songs have something to offer, at least a little. But the real down to the core Jesus Jones, appears only a little and the rest remains back in Perverse. And I think I heard a re-occurring sample on "Addiction, Obsession and Me" – a sample from "Stripped", from Doubt. Overall, it never reaches its goal. I see Mike Edwards here pushed into a corner where he could not just make the record exactly like he intended. While "Motion" can take you back to those "Idiot Stare" days of awe, I sincerely don't know why EMI did not understand this band.What grabbed my attention the most is that the drummer had such an irresponsible way to handle his parting company with the band that did not make any effort to show up for the band photograph on the release – in which he is missing. The liner notes state a clear rancorous phrase as a vengeance from the band: "Played the drums and then left". If he was at least politely asked to shoot the photo with the band then he should have attended to the request. "I hate being in these situations / that call for diplomatic relations." - Leave in Silence, by Martin L. Gore.