Speaking to Sea of Tranquillity in September 2015, Steven Morricone recounted "in spite of all the self-imposed difficulties, we seemed to come up with the most coherent and vast array of songs yet.

The first few songs to emerge seemed to sum up waking with a cold sweat and a pounding heart after some unfathomable jumble of feelings, situations and people from your subconscious touches a genuine nerve in your sleep.

Horrendous and stifling environments and grim caricatures of familiar people mix with real home life ("Citadel"), deep longing and heart-stabbing guilt ("Arabella"), strange third-person detachment and morbid fascination ("The Outsider" and "Staring at the Accident").

"[2] ""The Man Who Couldn't Sing" is about one such nightmare situation whereby the subject of the dream is onstage for the most important public appearance of his career only to be choked to croaky silence by an imaginary hand of terror.

Writing in The Haverhill Echo, Stuart McHugh opined "..."A musical journey into the unconscious" might sound like PR blurb, but enter the world of this Sheffield quartet, and their explorations of personally endured dreams – and nightmares – and it all comes true.

Their eighth album takes their regular blueprint – impassioned vocal harmonies, big choruses and massive swells of sound – and multiplies them tenfold.

Opener "Rules" gets the eleven-tracker off to a furious start, all acidic guitar with keyboard flounces while "Citadel" is pretty much a mini rock opera.

Continuing, Benjamin adds ‘"..."Out of My Mind" is another standout song, a Phil Spector-esque wall of sound that really gives a chance for the band's close vocal harmonies to shine.

It's easy to forget that, amongst the swirling maelstrom of amplified instruments, The Scaramanga Six is choc-a-block full of great singers that can really harmonise together (perhaps that's where I see The Carpenters’ influence).

For some reason Paul Morricone's vocals come over a bit Stranded-era Bryan Ferry for the first half of the track – I'm not sure if it's intentional, but it kind of works and is brilliantly countered by a middle section that rocks hard before a bloody marvellous keyboard led final act...

It's perhaps unfashionable in a post-rock, math-rock, ironic-rock world, to be a band that really play well, that really sing well, and just bang out great tunes, but the Scaramanga Six really are the whole package.

"[5] Saluting the band's knack for "instantly memorable riffs with many-layered lush vocals and a lot of heart", Sean Kitching of The Quietus commented that "with the application of a little imagination, each of the eleven tracks becomes a self-contained psychodrama, the best of which are like nightmares fated to recur for at least as long as it takes to shake loose from the grip of their relentless melodies...

"[6] Reviewing the album for Sea of Tranquillity, Steven Reid suggested that "using words like power-pop, or pop-rock conjures up very specific images and bands, so let's call The Scaramanga Six something else, shall we?

Whatever we call them (actually, bloody good will suffice), The Terrifying Dream is a mighty statement and one which is as multifaceted as it is seductive and as unsettling as it is pointedly crackers!...

"[7] Commenting further, Reid said that "..."Staring At The Accident" perfectly illustrates the observational commentary behind TSS's lyrics and yet never does the album feel like a finger-wagging, this-is-how-the-world-should-be lecture, or indeed an English lesson.