The moods found, existent, and lurking in between the lines of Sun Raven’s 10-track Long Player Anam Caram are heady. They lure you in, bringing out the best quality of guitars to entrance, weave spells, and change the very shape and feeling of the rooms in which are very lives are lived.

Such efficacy, of course, is a testament to the musicianship on display on this soiree of songs, if you will. There are no vocals on this piece. The phrases, fragments, and sentence structure of the outing are owed entirely to the way the band vibes with one another, building off each other’s expressions and sensitivities.

Sometimes, like on “Shadow of Truth”, there’s a pair of electric guitars amalgamated, sonically, to produce a single, and singular, riff. Slightly distorted, they catch you off guard by how much of the listener’s attention they’re able to monopolize. Eventually, they give way to a much darker, heavier bass line version of that riff, the drums chiming on cue, bringing a slow, almost nasty groove that transfigures things yet again.

Other times the keys are the mages that work their aural wonders, which is certainly the story on the leadoff tune, “Bridge Between Worlds.” There’s a thoughtful, well-paced counterpoint between the simplicity of the driest, most acoustic of pianos—which starts off meandering chords before considerably picking up the pace—and the panned, wavering, sprawling synths that are as loud, and as distracting, as the piano is hushed and consuming. Together, they make for the spookiest, eeriest of tracks: something like a purely instrumental version of the intro and outro music on Bushwick Bill’s “Phantom of the Rapra.”

Actually, the band is so well versed in their cooperative outputs that the introductions to many of these tunes are more distinguishable, if not outright spirited, than are the songs in their entirety. Just dig the richness, and lushness, of the acoustic guitars running and ripping into each other at the start of the titular cut. Could that be a bass touching down ever so slightly on some of the notes, or just some creative eq-ing of the guitars? The spell is broken, somewhat, by the addition of the drums and the much heavier electric guitars that drape the tune, much like they do the majority of the album.

With instrumentation this genuine, there’s little wrong the band can do—and an entire album of good it accomplishes.