In psychology, Oneirology refers to the method of dream interpretation. Hence, on the homonymous album, the CunninLynguists lead the listeners through their nightly subconscious. From Predormitum, the passage between waking and sleeping, to the penultimate track Hypnopomp, the phase of awakening, the three musicians from Kentucky don’t leave the world of dreams even once, so that calling it a †œconcept-album† almost seems like an understatement. Kno creates an imaginative sound-scenery with tight, atmospheric synths combined with well placed samples, instrumentals resembling pianos and guitars and pitched vocals. Deacon the Villain and Natti complete his production’s melancholy with critical and metaphorical lyrics about topics like drug abuse, as in As Hard As They come. Quality-wise, the album definitely fulfills the high expectations set during the break of almost four years that have gone by since the last studio album was released. Kno has even raised the bar in terms of complexity and all in all, OneirologyÂ seems extremely mature and well composed. However, after about half of the album, one is waiting for an impulse, giving the listener something to pull himself out of the sound-carpet’s entanglements. Whoever is not prepared for a Freudian journey through the Lynguists’ emotional abysses, might wish to be woken before the male (?) choirs of angels on the last track Embers bursts out singing. And still, there’s actually nothing bad to be said about Oneirology. The album sounds like the Lynguists’ uncompromising development while completely matching up to Dirty Acres.