Pure amazing, it's missing one song though: Down in a Hole.

After listening to the genius that was Alaska, I decided to delve into the past offerings by the band that is Between The Buried and Me. The Silent Circus is a great album, with the hardcore elements that made them popular among moshers and the progressive and semi-emo elements that made them popular among prog fans. The first two tracks, "Lost Perfection: Coulrophobia" and "Lost Perfection: Anablephobia" are two songs in that share the same concept: the end of the world and a baby that is born at the end of it. The lyrics, while rather macbre, portray how boredom affected the band earlier on in their career, making this story for the song. "Camilla Rhodes" deals with the ever constant issue of artists having to be sexually appealing in order to sell records. "Mordecai", the band's most well known song up until Alaska, is a great song that shows how versatile this band is, from being staight up hardcore, with some odd time signatures added in and as the two parts, "Day One", and "Day Two", transition into each other, change completely from the blistering riffs to a jazz-influenced solo and then to the outro riff that is extremely catchy. "Reaction" is just a breather song that gives you some time to catch your breath after four songs of brutal metal. It's more of a prelude track to "(Shevanel, Take 2)", a ballad about pursuing your goals. It's a rather soft track compared to their other songs. However, the metal doesn't die. It is immediately reenergized with "Ad a Dglgmut", a compilation of vocalist/screamer/keyboardist Tommy Rodgers to imitate random sounds amid the instruments' chaotic riffs. It transitions to a slow, melodic tune, but then ends with the same insanity it began with. "Destructo Spin" is another tune to get the mosh pit going with some good breakdown-like moments. "Aesthetic" is one of the band's more progressive hardcore songs, with some amazingly confusing time signature changes, all the while keeping a good riff to keep standard metal fans appeased, and not lost. "The Need For Repetition" features a lot of repeating riffs and a good instrumental transition to clean guitar melodies in between the said riffs. After a while, everything fades into white noise and the album seems to be over. Those with iTunes, however, will know that some bonus content is after this. A hilarious bonus track, "Goddamn Woman", is screamed in a tough guy scream by the rhythm guitarist in his hicksville accent. Its got some tasty licks by the lead guitarist. I'm assuming this was all done on the fly, because it doesn't seem to be like a song they'd play live unless they were playing a comedy club. Hysterical laughter ensues, assuring that there is a sense of humor to a band that seems like it would take its music way too seriously.