'The Opiates' is a new phase in the band's musical evolution, and the long-gestating follow up to their 1998 eponymous debut, which found the idiosyncratic Scandinavians being dubbed by an appropriately bemused Melody Maker as "winner's of the scariest-looking band award".

But tracks like 'Scars And Glasses' and 'Toy' don't come together overnight (not taking into account that the band operate on a totally different time plane anyway), which is why three years between albums would hardly raise an eyebrow within the Anywhen camp. First there was the specially constructed studio to set up, which the band built in two rented rooms in the centre of Gothenburg, Sweden. Then there were the intricate instrumental arrangements and recording sessions with the Warsaw Radio Symphony Orchestra to perfect.

Vocalist and mastermind of the group, Thomas Feiner, says the album is "about growing up and getting older. It's about life's bitter-sweet discoveries, uncertainties and the feeling that you no longer have things in control. At the other end of the emotional spectrum, however, 'The Opiates' is about finding consolation and solace. The album title refers to the experiences in life that pull us down, whether they're imagined needs, responsibilities, or rewards."

The natural world is another deep pool of inspiration for Feiner, who retains a sense for sensitivity, romanticism and sensuality in our modern, Western society. On their debut album, Feiner's fascination with the vast night sky and shooting stars translated into the ethereal 'Movie', which Metal Hammer praised as "a wonderful paean to watching the night skies".

The recording sessions for the new album proved far from smooth. "Some of the songs were written during group jam sessions, and at other points I was practically working alone on the album with occasional support from Kalle, the drummer, and Mikael on bass," says Feiner. "Then I moved the project over to my house, where I worked and slept during the day, and dedicated the nights to the album when the building was empty and quiet. During this period I really felt spiritually at the end of my powers. Being amongst people started causing tension, but after a long period of isolation my creative energies reached a new plateau. By the time I travelled to Warsaw for the recordings with the orchestra, I felt even more overworked…. on the other hand, it was one of the great moments in my musical career."

Technically, the album is an interesting mix of "do it yourself" studio and home recordings and state of the art orchestral sessions. The result is a collection of intoxicating melodies and Feiner's brooding lyrics which build into a vast, emotional soundtrack. 'The Opiates' may have taken a long time coming, but the results are timeless.