There is one final chorus, like a sigh put to music, before it kicks in.

I wouldnt normally post something like this because I assume that the two or three people that actually bother to read this would be familiar with this album.

But then I had this staggering realisation that, you know, there are people who havent heard this album, or people who, worse, dont get it.

It saddens me that people are missing out on something so incredible.

It is a cohesive experience, the expression of and expansion upon a single emotion to overwhelming effect.

It is highly unlikely that you are going to get Jane Doe just by listening to Concubine or The Broken Vow as standalone songs.

Every moment in this album contributes to the next, hurtling madly towards those last three minutes of the title track.

The album is a perfect example of the powerfully cathartic nature of hardcore: a comprehensive outpour of an emotion, like wringing water from a sponge until nothing is left.

This album is a rollercoaster of emotion recorded in the aftermath of a heartbreak that left Jacob Bannon feeling low and damaged.

It shows, because all the associated emotions are there: from the shock, denial and desperation following loss to the ensuing feelings of spite and hatred, the nadir of defeat, depression and self-loathing, the cold grip of loneliness and, tucked away in a corner somewhere but nevertheless present, hope.

They dont necessarily match up to the music in a linear fashion - rather, Jacob Bannon writes them like poetry, then uses them as inspiration for the songs, lifting lines and placing them in appropriate places for maximum impact.

Take Concubines desperate cries of Dear, Ill stay gold just to keep these pasts at bay, Bitter and then Somes vitriolic chant Death to cowards, traitors and empty words or the beautiful penultimate part of the title track Lost in you like Saturday nightsSearching the streets with bedroom eyesJust dying to be saved and you have just some examples of Bannons skilled and heartfelt lyricism.

There is a particularly haunting passage in Hell to Pay, as another example, that really sums up the kind of engulfing depression that takes its hold post-heartbreak: That night, I think he cried himself to sleep Just maybe, he felt more than we could ever know And I think he pulled that trigger to empty that memory I think he cut the weight to end the floods of you Let him soar, let him ride as budding gravestones do Just sleep, girl, just dream well Jane Doe, of course, isnt anything without the music.

And what sublime music it is: from the discordant opening measures of Concubine the listener is thrown into some of the most intense, chaotic music ever written.

The mood varies; from raucous and chaotic in Homewrecker and Bitter and then Some to pensive in Hell to Pay, with its enormous bassline, and epic in Phoenix in Flight.

There is a sense of uncontrollable and climactic chaos throughout the album, untamed amounts of passion that are hard to find in any other album.

One particular highlight is The Broken Vow, an anthem that finishes on the rousing and desperate chant Ill take my love to the grave.

Thaw is also particularly climactic with its jarring riff and its crushing closing chord sequence.

This still serves as a mere warmup for the albums title track.

Theres a rather clichd phrase that goes its always darkest before the dawn - to me, much of the song Jane Doe represents that state of rock bottom.

It charts that feeling of hopelessness, of being completely lost.

Theres a moment about 45 seconds into the dirge where Bannon suddenly switches gears into a voice thats so different to his usual scream that its ethereal, singing I want out like a desperate cry for help.

The song repeats itself in a cyclic pattern, spiraling more and more into that pit of despair until something happens - something changes.

Theres a break in the music, and a wonderful sense of space and release.

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