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The follow up to their much-acclaimed Self-Titled album, the Twisted Teens are back with 12 more songs. The Band pulls from early American rock traditions without turning them into nostalgia pieces. Pedal steel sits comfortably alongside electric grit, expanding the emotional range without softening the bite. Melody is always present, but the rhythms favor momentum over precision. The result feels grounded and restless at the same time, rooted in familiar forms while refusing to stay put.Compared to the debut, Blame the Clown feels more focused in how it balances it's influences. Where the earlier record scattered ideas across genres, this one tightens the link between structure and feeling. The steel guitar feels woven into the songs rather than layered on top, and the album arrives with a clearer sense of direction. 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Of course, Mortiis' musical handwriting is ever present. Echoes from the often quite divergent phases of his previous works can be found across \"Ghosts of Europa\". Yet the creator of musical worlds left hardly a stone not turned in his epic quest for genuinely new ways of expression. As a result, this cinematic and visionary album often feels expansive, strange, and darkly dystopian. In this, \"Ghosts of Europa\" reflects it's maker's struggles while creating the album - as for Mortiis, these tend to come into existence at the cost of friendships and relationships as well as much soul searching in order to reflect both, the album's general orientation towards electronic and industrial rock as well as the particularly wide range of stylistic influences reaching beyond it's core, the choice of sound engineer fell on a most renowned specialist for precisely such sonic experiences: Luckily, Sean Beavan agreed to mix \"Ghosts of Europa\". 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