On The Blood on the Silver Screen, Sasami delivers a moody, atmospheric collection that blends dream pop, grunge, and experimental electronics into something both ethereal and uneasy. From the haunting opener “Slugger” to the slow-burning finale “The Seed,” the album feels like a soundtrack for a dream you half-remember — cinematic, emotionally disjointed, but undeniably compelling.

Vocally, Sasami floats somewhere between the hushed melancholy of early Lana Del Rey and the theatrical flair of a dialed-back Lady Gaga. On tracks like “Just Be Friends” and “Honeycrush,” however, she pulls back from mimicry and begins to carve out her own identity. Her voice is soft and restrained, yet capable of delivering emotional punch — especially when stretched over swelling synths or layered atop fuzzed-out riffs, like in the dark and brooding “Possessed.” There’s a compelling tension between her understated delivery and the moments when distortion or grit breaks through — a push-and-pull that defines much of the album’s texture.

Musically, the record leans into a haunting kind of nostalgia. Tracks like “I’ll Be Gone” echo ‘80s synth-pop with their retro drum machines and shimmering textures, while “For the Weekend” and “Figure It Out” dive headfirst into ‘90s alt-rock territory, balancing simple guitar riffs with more layered vocal performances. The album is filled with creeping intros that often build — not to explosive climaxes — but to emotional plateaus. Songs like “In Love With a Memory” and “Nothing But a Sad Face On” tease catharsis but hold back at the last moment, maintaining a suspended emotional tension that defines the record’s slow-burning allure.

Production-wise, there are moments of brilliance: glitchy drums in “Love Makes You Do Crazy Things,” a surprising trap-inspired break in its midsection, or the washed-out guitar swells in “Honeycrush” that crash perfectly against Sasami’s soft vocal lines. These highlights are interspersed with lo-fi, sometimes sparse production choices that feel deliberate. Still, tracks like the interlude “Smoke (Banished From Eden)” can be so subtle they nearly disappear into the background.

What ties the album together is its emotional throughline — a mix of heartbreak, longing, and the surreal experience of being haunted by your own memories. Whether it’s the aching calm of “Lose It All,” with its lullaby-like country lilt, or the quiet unraveling of “The Seed,” the record explores relationships, endings, and inner conflict with a ghostly, intimate touch. Even when the lyrics are minimal, they’re elevated by Sasami’s ability to let tone and production do the heavy emotional lifting.

That said, the album isn’t without uneven moments. Some tracks blur together, especially when the vocal dynamics and tempos stay static for too long. But when Sasami leans into heavier riffs — like in “Figure It Out” or the distorted pulse of “Possessed” — the payoff is immediate and memorable.

In the end, The Blood on the Silver Screen is a deeply personal, quietly ambitious record. It’s not always polished, and at times it drifts into murky territory, but its imperfections feel intentional — like scratches on celluloid film. Sasami proves she’s unafraid to experiment, to embrace discomfort, and to let vulnerability lead the sound. The result is a record that lingers long after the final note fades, like smoke trailing off a forgotten film reel.