Save for a select few standout singles, the individual songs are nothing more than okay, ranging from unremarkable at best to mediocre at worst. Several of the more forgettable songs in the latter half of the album aren’t bad, per se, but don’t provide much of substance. This score reflects the inclusion of those standout tracks compared to the inclusion of the mediocre ones.

The flow between the songs is one of the defining characteristics of the album. The tracks are arranged in a way that creates a smooth transition between each song that, for some reason, is relatively uncommon in the music world. Sometimes, it’s so smooth that I’m unable to tell where one song ends and the other begins. Other times, the way the songs sound just blend well together, in a way that’s hard to describe. Either way, the whole record just has a unique coherent sound to it, with a healthy amount of je ne sais quoi added via this element.

The technical aspect of the songs are remarkably professional and well-done. The audio mixer did a good job of incorporating all of the instrumental elements into a cohesive whole, with stereo sound to boot. The biggest reason I gave it this score in this category was because of one thing: the vocals. While Guzenski’s vocals are occasionally up to the challenge his average voice seems to have bitten off more than it can chew in tackling powerful vocal melodies. It struggles to hit the notes and provide a pleasant timbre to what would otherwise be chart-topping tracks.

The lyrics, in my opinion, can best be summed up by the word “delightful”. The aforementioned dual-meaning effect is powerful; it makes you want to listen to the album twice, once to listen to it as a romanticized retelling of the tale of King Arthur and Guinevere, and once as a compilation of requiems for Guzenski’s own romantic experiences. I give it an 8 because at times, the lyrics lack depth and nuance, being very straightforward and not leaving much for the listener to ponder.

My first thought when listening to this album was that this would be the perfect setlist for a band to play in a laid-back, modern coffee shop in the city. It gives the image of a tight-knit group of fans stopping my there on their afternoon coffee break just to stop and relax to the tunes. That’s why I give this such a score; it feels comfy and nice, the kind that you love to play on loop on a road trip for your friends. I would give it a higher score if the album had better individual songs. This album only makes sense as a whole, and most people would not want to play an entire album from start to finish for their friend.

If you like soft rock, this is not the type of album that you play once and forget about. The Lady Of The Lake has a smooth, uniform sound throughout, leading to a light, easy listening experience. This plays like the go-to album that you keep on hand in your car’s CD player, listening to it whenever your phone dies or there’s nothing good on the radio. I’ve withheld the last half a point due to a few of the individual songs being very skippable and not worthy of repeat play.

The only feature of this album that I would call “original” would be the fact that it’s a retelling of the legend of king Arthur; tales of myths and folklore, even if metaphorical, are much more common in metal than in soft rock Other than that, this album is very ordinary, as it relates to the music world as a whole.

This was a bit difficult to decide, because most of the songs in this album are a complete tie when it tomes to quality; not that the songs are similar, but that their individual quality is pretty even. Ultimately, though, I went with the lead-off track “Windchimes, as it is a combination of all of the best elements of the rest of the album. It has a clever transition with the next song, the instrumental and the lyrics are crisp and professional, and it generally sets the tone for the rest of the album.