There’s a marked step forward in the deceptive depth of Sun Coming Down, and Ought perhaps traded in some of their debut longplayer’s immediacy in getting it, but their wit and emotional complexity remain stronger than ever.
He makes no huge stylistic leap on the album, but instead allows for an organic refinement of his already unique and provocative style. It’s well aware of its influences, and well aware of itself.
There are manifold reasons why Barnett’s music is so compelling, then, but it all boils down to the way that she mines the little details for something powerful and resonant, creating songs that are at once universal and deeply personal.
Grey Tickles, Black Pressure is a rich, dense and rewarding album. Dig deep into it and watch it envelop you - decay and chaos has rarely sounded so seductive.
Its components are more straightforward, with keyboards, drums, bass and the odd guitar are being looped about with gleeful abandon but still sounding more minimalist than either of its predecessors.
This is music that lingers in the mind and seeps into the bones. And while you can view it as melancholic, Scally and Legrand never dwell on sentimentality or allow anything to sink into despondency.
It doesn’t quite retain the piss and vinegar, lightning-in-a-bottle feel of its predecessor. But then of course it doesn’t: that album was turned out in a matter of days by much younger musicians, while this release spanned years and several recording sessions and it’s still absolutely exhilarating.
Fading Frontier ... is the sort of record that only Deerhunter could make, a contradictory and even on paper somewhat illogical set of songs that nonetheless constitutes the most graceful set of music of the band’s career.
Before the World Was Big is a record that will help you appreciate the 'good old days' whilst you're still in them; it's a record that will make you feel okay about the unsettling aspects of the future and it's a record that will make you wanna hug your pals and never let them go.