Gena Olivier sounds like a hippie folk singer who discovered black magic. Her lyrics are drenched in mysterious images that delve deeply into characterization. Olivier creates thematic obscurity with narratives like, "Our footsteps begin to draw away/Like pulling to and from ourselves as we evolve/We walk�I await to recoil" ("Souvenirs"). It is not clear what these characters are doing, or what they are capable of doing, and this adds to the postmodern gothic deconstruction of Lion the Girl.

From the instruments, you can hear everything from the over distorted drive of "Souvenirs" and "Coral Den", to the aurally fragmented sounds that begin "Ribbons" and "Lion Song". "Ribbons" itself is a departure from the rest of Lion the Girl, following the simple love song formula (esp. rhythmically) established in the 50s. Overall, the organ-laden keyboards (Ryan Wood), mostly rooted in the 60s, create an existential sound, compared to strings that, even through experimentation, do not drift beyond early Sonic Youth. The drums do not extend the sound, choosing instead to propagate the established mood.