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One of those rare albums that probably sound best when your head’s inside a gas oven, Victory at Sea’s The Good Night is anything but. Like this Boston math-rock trio’s first two full-lengths, it’s to be listened to on nights when things could hardly get any worse. The music is big, blustering, and brooding—and a little mismatched with vocalist-guitarist Mona Elliott’s strangely enervating voice. Sure, Elliott and bandmates Mel Lederman (bass, piano) and Carl Eklof (drums) crank up the guitars and kick out the jams often enough, but even when Elliot emotes and gesticulates—which she does quite often—the effect is bloodless. Listening to The Good Night is like being accused by a ghost. Or, come to think of it, like hearing a disc by the very similar-sounding and equally angsty Rainer Maria. Unlike Rainer, Victory at Sea has at least managed to write a couple of songs I actually like: “Canyon” has a nice propulsive feel and an angry chorus reminiscent of early Hole, with Jeff Goddard’s guest trumpet adding some welcome coloration to the band’s otherwise grayish palette. And album-closer “Firefly” starts with some impressive whistling before wrapping itself around a pretty, chiming guitar figure. Too bad the lyrics read like the work of some summer-camp Sylvia Plath: “It was summer I remember/Fireflies they’re safe/They don’t bite/Put them in a jar/Lit up my guitar/Flew around/And then they all died.” And so it goes, each verse ending with some poor species moldering in the grave until you find yourself praying for The Good Night to suffer a similar fate. Recommended only to teens in love with their own despair, overweight vegetarians who like Janis Ian, or anyone whose favorite cat has just been run over by a truck. —Michael Little