With one Nationwide Mercury Music prize nominated album under their belt those cynics amongst us would claim that the band couldn’t produce another potential winner the second time around. And perhaps justifiably as the road is littered with disappointing album follow-ups… But there are exceptions and this is definitely one of them. What I really like about this album is that it tears up the existing rule book and replaces it with a brand new and exclusive one. Take the first track, ‘Out At The Pictures’, with its long and winding rhythmic intro (worth its weight in gold on its own!) which opens out with guitars and drum machine, then becomes stuttered and jagged as the fabulous and unusual vocals unexpectedly appear, while the pace quickens and slackens… Then an intensely dark ‘Shake The Fist’ plays with its varied vocals which includes Todd Rundgren’s sampling anthem. The song changes tack at around the middle-eight with a spoken vocal passage introducing a bass-driven segment that darkens even more. It’s a dance track unlike anything I’ve ever heard before. ‘Ready For The Floor’ is dance pop reinvented with simpler electronic backdrop, more conventional vocals and keyboards doing overtime. ‘Bendable Poseable takes a similar route but with diving, ocean deep bass lines, rap samples, and unremitting rhythm layered with dancing guitar chords. ‘We’re Looking For A Lot Of Love’ is almost monotone in texture with a lonesome male vocal and hand clap sample that never lets up. It’s a mesmerising, beautiful track and in the context of this album is overtly simple while still managing to surprise when it seems to end but then struggles to life again. With clap sample intact the band launches into ‘Touch Too Much’, a more conventional, downbeat tune underpinned by floating Hammond sounds. ‘Made In The Dark’ is a simple ballad with piano, brushed snare backdrop and the most fragile male vocal. ‘One Pure Thought’ opens with jangling guitar and soaring synth before the bass line appears to belt out a thumping dance beat that carries over to the next track, ‘Hold On.’ The diversity and invention continue through the final four tracks when jaunty pop tunes exist alongside intensely moving stripped-down, glacially paced beauties like ‘Whistle For Will’ and drop-dead gorgeous ‘In The Privacy Of Our Love’ with its haunting, distant female backing vocal.

Seldom does one come across an album that touches such a diversity of musical nerves. So this is something of a rarity and very, very special.

4.5/5