Pia Fraus - Empty Parks

At the end of January, Estonia’s Pia Fraus released ‘Empty Parks’. Formed at art school in 1998, this is their 5th studio release. Produced and mixed by John McEntire (Stereolab, Broken Social Scene, Teenage Fanclub) at Soma Electronic Music Studios in Nevada City.

Vocalist Eve Komp, speaking about the record said:

"Although the process of making this album wasn't been the easiest, I associate this album relates mostly with the feeling of happiness and positivism. The awareness of being able to be hopeful and make jokes about life even if everything seems to going downhill,"

In a similar vein to Ride’s comeback album ‘Weather Diaries’, Pia Fraus has put a positive intent back into their craft. It’s no surprise then, to hear ‘Hidden Parks’ and ‘Nice and Clever’ delivering the luscious ‘Lannoy Point’ and the atmospheric beauty of ‘Integration Tape’ and ‘Impermanence’.

Their sense of hope comes in various forms across the album. ‘Sweet Sunday Snow’ and ‘Late Summer Night’ have a more obvious appeal. Delicate guitar licks and hazy production gently build escapist climates. Meanwhile, ‘Paper Flower Projects’ is direct and ebullient like Arcade Fire’s ‘The Suburbs’.

However, ‘The New Water’ challenges you and thus, is far more rewarding. It dangles a great pop melody for the listener to clutch on to. Then, in a moment of shoegaze mastery, evaporates it, leaving you empty-handed. It acts, almost as a life lesson. Cherish the good times, for soon they may be gone.

At many points, the loved up fuzz of Pains Of Being Pure Heart and the mind-expanding worlds of MBV. ‘Slow Boat Fades’ is a gorgeous float downstream. It’s begging for Guy Garvey to lend his vocals too. Then, there is ‘You’re Not in Love’, the album’s standout moment. Scintillating and sexy from the get-go. An exuberant explosion of technicolour, enticing all and sundry to stand shoulder to shoulder against all of this planet’s ills.

From a UK perspective, it’s time for Pia Fraus to enter the festival scene. Who can honestly say that Latitude, Festival No.6, All Points East, End of the Road, or Green Man wouldn’t be lit up by their shoegaze dreams?

*image courtesy of Joosep Volk

Levellers – Food Roof Family

Have 32 years really have passed since Mark Chadwick and Jeremy Cunningham met in The Eagle in Brighton? 11 studio albums (soon to be 12), and 17 Beautiful Days festivals later, they have returned with their latest single, ‘Food Roof Family’.

With soaring fiddles and unifying polemic, they have tapped into the groove that made them legends on ‘Levelling The Land’. Chadwick’s guitars play great homage The Ruts venomous classic ‘Staring At The Rude Boys’.

Despite being entrenched in punk; they stride out beyond its polemic. Through their song writing, they’ve hit upon a pathway that moves past the aggressive binary times we are living in.

No matter how frenzied or desperate the guitars threaten to be, the Celtic tones of the strings lend an affection that few possess. So much so that, by the time of the chorus, you’ll be reaching for loved ones to embrace and euphorically raise your fists.

Despite their longevity, their passionate rhetoric has not waned. Furthermore, the hooks and ecstasy which propelled them to our hearts on ‘Levelling The Land’, is out in full force. Here’s to another 22 years.

The British IBM - Man of the Hour

The Cambridge three piece recently released ‘Man of the Hour’, the lead single from their new album ‘Play The Game, out tomorrow.

With the ragged glory of Guided By Voices in their hearts, they stagger their way to rock ‘n’ roll’s promised land. They’ve combined the effortlessness of Pete Astor and the alt-pop of The Wannadies, with rock ‘n’ rolls rabid desperation to be heard.

The results lead to another rock ‘n’ roll underdog that should be heard. Whilst it lacks that truly killer chorus or solo, there is a doggedness that’s impossible not to fall for.

*Image courtesy of Ian Guebert

Jetstream Pony: 100 Club, London

Hailing from Brighton and East Croydon, Jetsream Pony are an indie super group, consisting of Beth Arzy (Trembling Blue Stars/Luxembourg Signal/Lightning in a Twilight Hour) on vocals, Shaun Charman (The Wedding Present/The Popguns/The Fireworks) on guitar, Kerry Boettcher (Turbocat) on bass, and Hannes Mueller (Endlich Bluete, The BV's) on drums.

They opened up the Valentine’s Day Sarah Records reunion at the 100 Club last Friday. Despite the annual celebration of love, they delivered some joyously melancholic indie. ‘I Close My Eyes’, with its Byrds-esque jangle and Arzy’s knowing and tumultuous lyrics, ignite the set.

Meanwhile, during ‘It’ll Take More Than Friday’, Boettcher’s bass playing takes the hooks of The Prisoners and threatens to overspill in a riot but, Arzy’s lush vocals simmer everything, just!

The ante is upped again on set closer and, latest single ‘Yellow Pills’. This was the sound of band hitting cutting loose. It took the throbbing intensity of The Membranes and the pop splendour of Phil Spector.

It was on ‘Had Enough’ where the set climaxed though. The Cure meets The Fall intro should have been enough. The spikiness colliding with shoegaze’s beauty was, one of those rare moments of cultures clashing that make live music the ultimate art form.

Jetsream Pony (and The Hannah Barberas) are supporting Even As We Speak at the Lexington on March 28th.

*image courtesy of Richard Weir

The Orchids: 100 Club, London

Valentine’s day, the 100 Club, and a Sarah’s Records reunion. It was a match made in heaven. Headlining, was the Glaswegian 5 piece, The Orchids.

With their 7th studio album in development, an added sense of excitement was in the air and, on first hearing of ‘Caravan’, another indie gem is in the offing.

Sadly, honorary Orchid Pauline Hynds Bari was unwell. Whist her eloquent beauty was missed on vocals, it led to ‘You Could Do Something To Me’ being dedicated to her. The gentle twisting and turning classic was more than a fitting tribute.

Beautiful personifies most of their work, but, on ‘A Place Called Home’, something truly exquisite happened. The acoustic and electric guitars combined to paint pictures of unattainable dreams on the horizon. It showcased the human condition quite like no other band can. A sense of isolation was felt by all but, the sense of belonging it gave the London crowd was tangible.

From ‘She’s My Girl’ through to set closer ‘Caveman’, they injected enough happiness into the room to rid the world of Brexit and Trump. ‘She’s My Girl’, swirled its way through the room like Storm Dennis but with vocals sent from the gods to reassure us all.

The crescendo of love on ‘The Sadness of Sex’ was akin to the euphoria of the great rave djs. Layer upon layer of love was built on this Style Council meets Saint Etienne gem. Friend of the band Michael Deans, joined them on stage to add his saxophone genius to proceedings. ‘Walter’, in particular, was given a stylish and raucous lift.

The night was brought to an end with the cult classics ‘Bemused, Confused and Bedraggle’ and ‘Caveman’. It was akin to the release of ecstasy. We’ve had their love and we’re begging for more!

*Image courtesy of This Is Anorak City

Shambolics - Sandra Speed

Dunfermline four piece, Shambolics, returned on Valentine’s Day with their new single 'Sandra Speed'. Released on Alan McGee's Creation23, it follows November's sold 7 inch 'Fight Another Feeling'.

Last November, they sold out London’s Water Rats (full review). A stepping stone towards bigger for many, but, for Shambolics, it was a night where they laid bare who they truly were. The pop majesty of Fleetwood Mac’s ‘Rumours’ and ‘Tusk’ and the genius of Alex Chilton shone through their playing. Now, on ‘Sandra Speed’, they have a record to do the same.

The effortlessness and, slightly wayward genius of Chilton’s 'The Ballad of El Gonodo' shines bright. With 70s hedonism gone and, the working class triumph of the mid-90s a vague memory, Shambolics rightly, had to inject an urgent grittiness to the single.

At present, punk is in the ascendency. It’s a great angst filled moment in time to savour. Lurking in the shadows though, are tunesmiths like Shambolics. The spirit of punk in their hearts, they are waiting to infiltrate the masses. It won’t be long!

Ist Ist - Wolves

Manchester four piece, Ist Ist, recently announced their debut album, 'Architecture’ is due for release on May 1st. To kick things of, they have released 'Wolves' as the lead single.

The post-punk quartet have set their lasers to destruct! Frontman, Adam Houghton professes “proof there is no god” as he lays bare, anxieties of social services coming for your children in the night. Alongside his intense vocals, the darkness becomes tangible.

The guitars and bass, throb with so much ferocity that, IDLES, White Lies, Editors, Shame and anyone else they (we) have ever compared them to fade out of sight. They have launched themselves into the universe with a bullet of the utmost severity.

All shall bow down to its glory!

The Blinders – Circle Song

February 13th marked the date when, the most exciting UK band, bar none, returned. The Blinders, following on from their instant classic ‘Columbia’, have returned with ‘Circle Song’. Produced by Rob Ellis, (PJ Harvey, Anna Calvi), it is the lead single from their upcoming album, ‘Fantasies Of A Stay At Home Psychopath’ due out in May.

The Blinders toured last winter, it was a valiant attempt to help Corbyn into power. Alas, their joyous dystopian rage failed to land beyond the converted. The political parallels are uncanny.

‘Circle Song’, musically has dramatically moved away from ‘Columbia’. In as come, the stylisation of ‘Tranquillity Base Hotel & Casino’ and the romance of Bowie’s ‘Drive-In Saturday’ to send the trio of in a new direction.  

Such was The Blinders’ connection with Labour last December that, it’s hard not to hear ‘Circle Song’ and be drawn to the Labour leadership contest. While the band needn’t reinvent themselves, this new, more reflective approach allows their talent to breathe. Maybe this is the way for both them, and the Labour party to win over the masses?

The Blinders head out on tour this May from the 1st May, check here for the dates.

The Jacques - Born Sore

When we featured Bristol via London’s The Jacques in 2017 (review here), they were a snarling indie-punk outfit delivering anthems. Good, but just the next in line. Fast forward to 2020, they have far outgrown their youthful polemic.

Their latest EP, ‘Born Sore’, was released last week via Modern Sky Entertainment. Some of the early riff based magic remains. ‘Alka-Seltzer’ is in sync with ‘Eleanor Ring Me’, built upon riffs from Coxon’s play book of ‘Coping’ and ‘Bank Holiday’.

The rest however, explores far different planes. The title track, takes Supergrass’ ‘Eon’ and ‘Born Again’ on a trip down poverty ridden Britain in 2020. The desolation of Shame and the druggy machinations of Fat White Family come roaring to the surface.

Meanwhile, on ‘Kiss The Pharaoh’, the dank world of The Libertines combines with the warped seaside genius of The Horrors’ ‘Primary Colours’. The Horrors again feature on ‘I Never Want to be Your Boyfriend’. Post ‘Skying’, The Horrors have been traversing more blissed out psyche realms. The Jacques have shown them how to do it with the splendour of Phil Spector thrown in for good measure.

Having been through some tough times, The Jacques have emerged the other side better than ever. Their journey has been bumpy but, it seems inevitable that, a great debut album is nigh, right?

Daniel Land – White Chalk

“All love is cast away”

London based artist Daniel Land returned the fateful 31st January to release ‘White Chalk’, the lead single of his upcoming new album. Written with rhythm guitarist, Gary Bruce, it’s available on his Bandcamp page now.

Land is in a spell of creativity at present, having to release his masterpiece ‘The Dream of the Red Sails’ (full review here) and the EP ‘A Certain Kind of Light’ in 2019. This offering has picked up that slipstream of beauty on this Brexit inspired single.

Sombre and reflective, land talks of “selling England” and the “winter that is coming over island”. Whilst this may appear antagonistic, in reality, it’s a heartfelt indictment of how many remain voters felt on 31st January. Land expertly delivers the sense of loss many felt. Not of an economic union, few understood but, a death of love and kindness.

Despite the sorrow, Land’s dream-pop guitars, flicker gently, hopeful, and alas, on the horizon, like European shores. Land has set the bar high for his new album, an exciting prospect awaits.  

Backinhumanform - Backinhumanform

Backinhumanform is the creative machinations of West Ireland’s Joe Clarke. Based in London, he released his self-titled debut album in late 2019. The album is available on Clarke’s Bandcamp page.

Throughout, Clarke imparts a striking amount of melody and elite level orchestration for a DIY project. ‘Slippin’ Away’ floats along like a lost Beach Boys classic. Meanwhile, ‘On The Road’ is a shoo-in for poignant Peaky Blinders scenes in the next series. Confrontational and built upon 60s pastiche, it builds upon the early work of Brian Jonestown Massacre and the sun-drenched psyche of Cosmic Rough Riders and The Beta Band.

Steve Mason’s influence looms large and often on this record. Vocally and atmospherically, Clarke is able to summon the majesty of the Edinburgh legend.

It is though, on ‘Half Light’ and ‘Ships’ where Clarke threatens to eclipse Mason. The former, with the nuggets of the Cocteau Twins and The Engineers shimmers like a crisp moonlit sky. IT drifts into a state of bliss where images of Robert Plant performing at a pagan festival are easy to conjure.

On ‘Ships’, the trippy bombast of Mason’s Beta Band is called to action. Direct and expansive, it creates a dystopian realm you must enter, no matter the risk.

This is a fine debut, one that deserves to propel Clarke onto bigger stages at Green Man and End of the Road style festivals.

Noel Gallagher – Blue Moon Rising

The notable quotable returned on the 30th January with his latest single ‘Blue Moon Rising’. Released on his own imprint ‘Sour mash Records’, it’s the second single from his upcoming EP of the same name (6th March release).

It’s been an interesting if not always exhilarating journey on these EPs. Forever searching for innovation, his ability to fins a great melody, blindfolded, in the abyss, had been left behind. Here though, he has found a way of marrying the two without reverting to type.

The low synth, almost techno intro combines with a gentle vocal Noel, subtly, he begins to unfurl a world where something is not quite right. As he decrees “shall we just run away”, the anticipation of what he might do with his skill for escapism fervently grows.

Then it comes, like an understated version of Johnny Marr’s ‘Armatopia’. The disco, soul, and acid house influences he often refers to are finally emerging. Although just loitering, they are slowly leading the lord saviour of 1990s back to the promise land once more.

The Novus - Frosty

Hailing from Stourbridge and Birmingham, The Novus, kings of the DIY scene, returned recently with their new single ‘Frosty’.

After one satanic guitar lick, it’s easy to see why they headlined This Feeling’s Big In 2020 shows in Birmingham and London recently. On the live circuit, frontman Conor Hill, has carried the band to these feats. He is an absolute psychedelic force of nature.

However, from last September’s ‘PMF’ to this new offering, the band now stand alongside him, equally as majestic. They’ve combined the Sabbath combines with the brooding mystique of BRMC and Brian Jonestown Massacre on this face melter.

Pulsating throughout are riffs, from the ‘Voodoo Chile’ playbook but, re-imagined by the fury of The Blinders for modern day Britain.

Stourbirdge, forever associated with its late 80s and early 90s scene, has pastures new to explore now!

Ash – Darkest Hour of the Night

Today marks the release of the Ash’s new single ‘Darkest Hour of the Night’. It’s taken from their upcoming compilation ‘Teenage Wildlife’, a compilation spanning their 25-year career.

Described by head honcho Tim Wheeler “a ray of light to pierce the darkest night of the soul – a redemptive anthem for a new decade,” it is their funkiest single to date. Lyrically, it’s a helping hand of the canvas. Get up and dance, everything will be OK permeates throughout.

It’s in the vain of Blossoms’ pop masterclass ‘Your Girlfriend’, it will stomp its way into your heart like their Phil Spector inspired classic ‘Candy’. Resplendent with handclaps, horns from Rubblebucket and sumptuous backing vocals, it’s clear Ash are still masters of the alt-pop single.

Roll on Valentine’s Day and the release of a truly remarkable back catalogue.

Thousand Yard Stare - Schism Algorithm

Slough’s unsung heroes TYS are back today with the second single from their upcoming album. ‘Schism Algorithm’, recorded at Raffer Studios with Callum Rafferty, is released via Stifled Aardvark Records.

The previous single ‘It Sparks’, ignited their bespoke flames of psychedelia and punk for the modern world. On ‘Schism Algorithm’, they explore the destruction left after the battles they thought on ‘It Sparks’.

Written by frontman Stephen Barnes and led guitarist Giles Duffy, it is very much a collaboration of sonic meets poetry. Barnes explores the post-truth world we find ourselves in with a laser-like focus.  

Through Duffy’s guitars, their classic ‘Comeuppance’ has been developed for the digital age. Every lick reflects the potency of the online world. The undeniable groove lures you in but, just like Twitter, Instagram, or Facebook, your only ever one step away from venomous bile. Duffy’s guitars, at times, offer hope but, there is a sense of dread and trepidation overarching everything.

This is a fine attempt to marry up rock ‘n’ roll with the new world we live in. TYS new album is shaping up to be one of the most intriguing of 2020.

Nada Surf - Never Not Together

Alt-Rock legends Nada Surf are back with their 9th studio album 'Never Not Together' via City Slang Records. Their last two albums, although solid, have failed to spark what was, once, a truly exciting band. Can they rediscover the magic?

After touring their classic album 'Let Go' for its 15th anniversary, chief songwriter Matthew Caws spoke of its influence:

"I think [the Let Go tour] really boosted my work ethic and made me feel like I really had to go for it." 

Recording at the legendary Rockfield Studios, they have, at times, ignited that flame of brilliance. Former singles ‘So Much Love’ and ‘Something I Should Do’ tapped into the magic of ‘Let Go’ and, pushed the envelope further still. The former surpasses the melody and affection of the classic ‘Inside of Love’. Honestly, who pulls out their best ever single on album number 9? Nada fucking Surf, that’s who!

This week, we saw Nancy Pelosi rip up Trump’s State of the Union. As poignant as it was, it remains entrenched in petty dialectical arguing, it won’t win! The lyrics to ‘Something I Should Do’ however, move past this and show the way forwards:

“And some people can't be beat in an argument
We have to hold to that hippie point harder
Empathy is good lack of empathy is bad
Holy math says we are never not together”

‘Come Get Me’, falls into single selection material too. Caw’s gorgeous vocals, go into Wayne Coyne and Neil Young mode on this Teenage Fanclub meets Lemonheads meander downstream. Young’s influence shines through in the lyrics. As Caws decrees “I’m getting tired / forgetting how to love/forgetting how to dance”, although different in subject matter, the protagonist pushed too far on ‘Down By The River’ comes to the fore.

In recent years, when the unexpected drops from Nada Surf’s work, the criticism has grown. ‘Live Learn & Forget’ and ‘Mathilda’ fall into this territory. However, Caws has found extraordinary serotonin levels on this album. It’s enough to carry these songs past said judgment.

Between Caws and Doug Gillard, long time collaborator, they provide two stunning solos. ‘Crowded Star’, gently shimmers like Neil Young’s ‘Winterlong’ before floating into the ether as if Grandaddy were playing Noel Gallagher songs.  

Alternatively, ‘Looking For You’, is the album’s moment of true bombast! Slowly building in a state of daydream, until the stirring guitars and orchestration.  Suddenly, everything is possible. The world can change, you can get the girl/boy, the status quo seems movable! A beautiful reminder that one song can still change the world.

While there are moments when 'Never Not Together' dips, it’s never that far. In their own distinct way, they have re-imagined the New Order lyrics “it’s called love and somehow it’s become unmentionable” for 2020. It’s ok to be lost, things will get better Nada Surf around.

*Image courtesy of Annie Dressner

HMS Morris - Babanod

Cardiff’s HMS Morris return on February 7th with their new single ‘Babanod’ (Welsh for babies). It will be released via Bubblewrap Collective for Dydd Miwisg Cymru (Welsh Music Day).

Thematically, it centres around the awkward moment when, your married friends deem themselves superior, purely because you're single. The use of electronic production is exquisite. Alongside Heledd Watkins poignant welsh language vocals, they create the unease and tension felt by the protagonist.

Artwork by Mari Elin

Although sonically worlds apart to The Kinks, such is the detail on every note, it's hard not to recall the brilliance of the minutiae on their ‘The Village Green Preservation Society’ album. The detail on every guitar lick allows that gnawing sense of social unease to grow exponentially.

Then, comes the mesmerising solo. Is our protagonist coming defiant or, is the crushing drunken spiral out of control in full flow?

‘Babanod’ is available to buy here on the 7th Feb.

Asylums - Catalogue Kids

Less than two years ago, Southend’s Asylums released their second album 'Alien Human Emotions'. Not a second thought was given to dwelling on that success. Last fall, they ventured to Chicago, Illinois, and begun work on album number three with the legendary Steve Albini.

The lead single from the album is 'Catalogue Kids' and, it's slotted right back into their groove. Jazz Miell has his guitar set to warped and Luke Branch's vocals are at their pop punk best.

Last time out, they tapped into the of mood younger generations. Increasingly maligned by housing policy and a jobs race to the bottom, society has continued to nose dive. So, it’s fitting Asylums have not only returned, but with more animosity than ever.

What was disillusionment, has morphed into a rage. At points, its despair, but, crucially, in the closing moments on ‘Catalogue Kids’, the it’s defiant! The colossal thrash signifies enough is enough. It's violent and venomous, it begins to paint pictures of a lost generation kicking back.

No wonder Iggy took them tour.

Key to the UK punk scenes success in the 70s was, its ability to highlight generational divides and disrupt the social status quo. In 2020, elder generations who were afforded jobs for life, secure pensions and affordable housing now sneer upon those under 35. “Work harder” or “sacrifice more” are bellowed out, ignorant to the fact that work isn’t paying, education is a con and mortgages are a fantasy for anyone below 40k a year.

Asylums are picking at this scab. Well, they rip it clean off really. This raw polemic, is delivered with the angst it deserves and, culminates with the genius twist on The Who’s ‘The Kids Are Alright’:

“the kids don't seem alright”

Maybe, just maybe, this is the cultural needle needed to prick elder generations to be more emphatic. However, what really must be, is, a clarion call to younger generations. Get angry. Get poetic. Form a band and strike out!

The Asylums play their biggest headline show at London's Moth Club this October. Get your tickets here.

*Image courtesy of Luke Branch

Beat Hotel - Beat Hotel EP

Based in Brighton and Plymouth, Beat Hotel, released their self-titled EP last Friday. Recorded at Church Road Studios in Hove, it will be released by Occultation Recordings, the home of indie legends The Wild Swans and Factory Star (The Fall/Blue Orchids founder/guitarist Martin Bramah).

All images courtesy of DC Cane

Frontman Paul Pascoe, driven by a sudden and painful end of a relationship, spoke of “facing down inner demons” whilst recording the EP. Like all hardcore music fans, Pascoe did so by delving into his record collection. Initially looking for comfort, Pascoe eventually found the inspiration that set him on his creative path 30 years ago.

'Bury It Deep' channels the distinct bass of Peter Hook and the fragile vocals of Bernard Sumner via Liverpool. The haze of Michael Head's Pale Fountains and Shack roams freely with the immediacy of Echo & The Bunnymen. Whilst Pascoe's youth is revisited here, the solo lends itself to his elder, more reflective self. It’s hauntingly withdrawn, akin to Noel Gallagher on 'Riverman ' and 'The Dying of the Light'.

The Liverpool connections continue on 'Daddy, I Drown' and 'Heat Light Fire'. The former, possesses the pop simplicity of Cast's 'Live The Dream' and the shimmering beauty of the Bunnymen's 'Lips Like Sugar'. Meanwhile, 'Heat Light Fire', takes the Bunnymen influences for a psychedelic walk with The Velvets and Jesus & The Mary Chain.

'Feel It' and 'Beat Girl', perhaps sums up Beat Hotel both now and in their former bands (The June Brides, The Loft, The Weather Prophets, Distractions, Mudlow, Mojo Fins and Lolita Storm). On 'Feel It', they've taken the dreamy rock 'n' roll of The Byrds and injected it with the raucous hiss of the Mary Chain. Like the great Mary Chain songs, behind the noise lies a great party riff.

'Beat Girl', takes The Wishing Stones 1986 cult classic on a journey through Sarah's Records. The cuteness of Aberdeen and Boyracer is brought to life on this cinematic meander downstream.

Beat Hotel may only be seen as often as a Snow Leopard but, they are no less beautiful. Anyone emotionally attached to the Children of Nuggets' era, should open their hearts to this EP.

Fred Deakin - Fred Deakin Presents The Lasters

Fred Deakin, one half of the legendary Lemon Jelly, has returned with his first solo project. Not willing to put out tried and tested Lemon Jelly-esque material, Deakin has produced ‘Fred Deakin Presents The Lasters’, a Sci-Fi concept album.

Former Ash guitarist, Charlotte Hatherley, features as the protagonist in this coming of age climate change via space thriller. Hatherley’s vocal ability to deliver a sense of the silver screen is key to its success.

The slow realisation that, her character, has the knowledge to fuel hope on ‘I Remember’ is a glorious moment of self-discovery optimism. Whereas, on ‘Goodbye Father’, she becomes defiant, a sci-fi icon in the making.

Despite Deakin’s attempts to find new creative outlets, there are moments that Lemon Jelly fans will savour. The cuteness of Hatherley’s vocals and the acoustic guitars on ‘Bringing Back to You’ recall their classic The Staunton Lick’.

Deakin’s attempts are not in vain though. On ‘Through The Veil’ and ‘The End of the World’, he finds another level. They are, at points, expert pop ballads. Sumptuous melodies and dazzling guitar craftsmanship ooze from them. It’s not just the pop classicism that lands though. Without giving spoilers away, their introduction into the narrative signifies a happy ending is nigh.

On ‘Rush’ and ‘Goodbye Father’, Deakin pays homage to Public Service Broadcasting. In particular, ‘Rush’, he finds a way to deliver the first meaningful pop song of 2020. Meanwhile, ‘Get The Message Through’ has nodes of John Martyn’s ‘Small Hours’, and no album is not better for that!

It’s been 17 years since Lemon Jelly’s ‘Lost Horizons’ was nominated for the Mercury Music Prize, surely it’s time for another nomination.