The 40-minute/five-track To the Highest Gods We Know arrives without drama, recorded at Colour Haze Studio in Munich on two-inch tape with production by Koglek and Charly Bohaimid, mixed analog on quarter-inch tape, with an accordingly classic sound that for those whove followed the band or felt their influence in others both within European heavy psych and beyond it should be reasonably familiar, but as ever, one gets a sense of progression from Colour Haze, their lack of creative stagnation being one of the most key elements in what they do. This album is no exception, despite a somewhat deceptive stripped-down vibe in comparison to its predecessor.