Perhaps the most explosive track on the record, "White Flag" is a masterclass in building tension. The verses are restrained, with Briggs' voice sitting low in the mix, almost whispering. When the chorus hits, the wall of sound is immense. The FLAC format preserves the punch of the kick drum and the crack of the snare. It captures the distortion on the synths not as digital noise, but as a textured layer of grit. This is a track that begs to be played on high-fidelity equipment where the bass can physically vibrate the listener.

The title Church of Scars is derived from a lyric in the track "": " My heart is a church of scars ". Briggs has described the album's concept as a mental space where vulnerabilities and past emotional damage are not hidden but embraced as sacred. This thematic honesty is reflected in the album's raw vocal delivery and heavy use of religious metaphors. Production and Sonic Identity

If you buy the CD:

A blues stomp. The CD FLAC handles the saturation here beautifully. The track is intentionally distorted, but you need resolution to distinguish between digital clipping and analog warmth. The 2018 mastering preserved the latter.

The album opens with the sound of a choir, immediately establishing the "Church" motif. In a standard MP3 format, the layered vocals can sometimes sound "swirly" or compressed. However, in a FLAC rip from the original CD, the separation is distinct. You can hear the individual voices stacking up before the bassline kicks in—a thick, distorted groove that sets the foundation for Briggs' vocal acrobatics.

So rip the disc, load the files, turn out the lights, and let the church service begin. Just be prepared for the volume swings.