The first song, “Chloe Yurtz,” has Suspiria giving her listeners a nice rhythmic chant and a few shouts with a mall-rat quality, but she can also deepen her voice into a dark operatic style. There’s a nice drumbeat going on from Corrine Dumas – who has since been replaced by Lars Friedrich. The strings aren’t too bad either with nice but repetitive riffs from guitarist James Jacket and bassist Peter Shamble.

“Somersault” has a nice surfer punk sound with Suspiria adding some psychotic shouting vocals somewhat similar to Karen O of the Yeah, Yeah, Yeahs. “To Dead Ahead” has a nice poppy-punk sound to it with a little more of that surfer guitar in the background. This song has a little more singing from Suspiria, which is a good thing, and also slows things down a bit during the chorus. Still can’t understand what the hell she’s saying though.

Jacket takes over for “My Body – the Pistol” with a slower, eerie guitar riff and deep, raspy vocals. The song doesn't have the usual peppy sound, a detour from the previous songs. But Suspiria finishes the album with the song, “Parish Priest,” that sounds like it would’ve been a fitting addition to Radiohead’s Amnesiac, with it’s high, echoed vocals. Suspiria’s choir vocals are accompanied only by Jacket’s strumming and a steady bass riff from Shamble.

Les Baton Rouge successfully captures that poppy punk sound that The Hives have popularized, including the – at times – unintelligible lyrics.