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As Mercurial gets rolling with the dazzling I Am The Love, we are introduced to two key components that will be defining the album: an insanely rich production quality that is a joy to the ears, and Elisabeth’s tremendous vocals which are quite simply beautiful and captivating.

But beyond a technical level, what makes her singing so good is the candid honesty and emotion running through it, as perfectly demonstrated in the seriously potent My Sisters, as she takes a firm stand for her fellow women, grieving over their poor treatment in society and asking that people appreciate them for the human beings that they are as a whole, inside and out.

My Armour lessens the energy, opting to indulge the audience in a track which is so intoxicatingly atmospheric to a point where you would have to be made of steel if your hairs weren’t on end. Heck, she’s even able to create that same sensation with livelier cuts like Inanna, highlighted by a catchy, buzz-inducing chorus that is out of this world.

Sadie is another powerful song, magnetic not only in its gorgeous ambience but the fixating writing, while Crystalline is so bright and melodic, not to mention addictive, and the synths utilised in Hypersthene are downright stunning, whether it be the chilling low notes or the blinding grandiose ones that burst to life in the final minute.

Scissors continues to ride off that exhilarating high, Hieroglyphic is extraordinary in every regard; sublime instrumentals, pulling lyrics, graceful harmonies, and an unhealthily contagious hook; all combined to create an unforgettable package, and she finally concludes with the lovingly heartfelt and engaging Obsidian.

Wow…just wow. It would almost be an understatement to describe Mercurial as purely magical. Very few albums, if any, as of late have to this degree forced me to sit down and take in every single solitary second of every track, with my attention never even slightly wavering, and after it was finished, I had to take a moment to properly ingest the beauty that I had just experienced.

This is perfection, polished to a tee and seemingly completely void of flaws. In the decade that I’ve committed to uncovering the absolute best that the underground music scene has to offer, there’s so little that can compare to the pleasure that has come with penning a review for Elisabeth Elektra’s outstanding opus.

She is undeniably the future of Scottish pop music, and if I were given the power to pick only one artist within the genre to be signed on to a major label, I would choose her in a heartbeat.