Diagrams

The old adage about not judging a book by its cover has always been a little misleading. Judging a book's quality by its cover might not be fair, but you can normally work out the genre. The same goes for music. As soon as you see the cover of Diagrams second album, you know that bands like Metronomy will be referenced, and there will be electronic experimentation. But make that assumption here and you will be surprised. While Diagrams' first album fitted those preconceptions, Chromatics draws more inspiration from the likes of early Pink Floyd and Peter Gabriel than it does 80s synthesisers.

It seems that songwriter and producer Sam Genders has moved on quickly from the styles he explored on 2012's debut Black Light, and the results are at times delightful. He has teamed up with producer Leo Abrahams (Wild Beasts, David Byrne, Brian Eno), adding acoustic guitar to the keyboards, leading to a richer sound and greater depth. The likes of Gentle Morning Song and You Can Talk To Me have a dreamy pop feel, while Dirty Broken Bliss takes the pop and adds a quirky rhythm. It feels like a 2015 take on Solsbury Hill.

Genders says that Chromatics is meant to look at life and relationships in Technicolor (hence the cover perhaps) and there is a feeling of widescreen about some of the musical imagery and patterns. Serpent has a strong melody but it is gift-wrapped in wonderful keyboard and guitar washes, that is reminiscent of Athlete's Wires.

There is still time for some of the expected introspection and self-indulgence, like on the lengthy Brain, which was co-written with Matt McKenzie and features an in utero recording of his son James' heartbeat. Those moments are kept to a minimum though and Chromatics is a surprising early 2015 delight as a result. Moving from London to Sheffield has given Genders some fresh air and a fresh outlook -- his music has benefitted greatly.