EDINBURGH’S Django Django are one of the most prevalent bands to have imprinted themselves upon the UK music scene in recent years;  cultivating a sound that is unlike anything else which has emanated from the nation in many years. Gaining notoriety as a formidably inventive band who were wholly undeterred by the expectations of others, the anticipation ran high for what their second LP would yield. In short, it certainly doesn’t fail to entertain.

Beginning with a piano loop that accentuates the immediacy of the instrument to its full extent, album opener ‘Giant’ is an aptly named composition; led by an immense sound that commands every strand of the listener’s attention. Featuring contrastingly plaintive vocals and interspersed with brief moments of angular, post-punk guitar, the track sets the tone for what is an incredibly restless album that never allows for a moment’s respite.

With a sinister and foreboding riff at its epicentre, ‘Shake And Tremble’ possesses a sound that nods towards acts varying from Canned Heat to Grinderman and yet, produces something which is both vital and previously undetected within their canon. Whilst it would have been easy for Django Django to further excavate the gold mine that they discovered with their first album; they’ve brazenly declared that they shan’t be pigeonholed or defined by its success.

Featuring warped organ that concocts a deep sense of dread, ‘Found You’ is accented by acid house style percussion before plunging itself headlong into something much more unhinged upon its hook; before concluding in a hail of virtuosic keys that lands somewhere between Billy Preston and Jon Lord.

‘First Light’ displays their ability to craft forward-thinking synth pop that exhibits anthemic qualities, meanwhile the jaunty piano which leads ‘Pause Repeat’ recalls fellow art pop outfit Dutch Uncles during their formative Cadenza period.

Strutting their way into the realms of deep house upon the intro of ‘Reflections’ before piercing saxophone ramps up the track’s Balearic tendencies towards its crescendo; the electronic influences continue to manifest themselves in the jungle rhythms of ‘Vibrations.’ From a lyrical standpoint, the latter ventures upon a lengthy odyssey of poetic imagery and beautiful couplets that evokes the spirit of 60’s psychedelia at its most dense.

The combination of placid vocals and off kilter percussion and synth sees ‘Shot Down’ bearing resemblance to Ian Brown’s often overlooked solo output with artists such as UNKLE; however the sound is of course fleshed out in a manner that is atypical of their unique style.

The blissful ‘Beginning To Fade’ is one of the record’s finest, rendered as a wistful, acoustic guitar-led track that would nestle comfortably among many of Pink Floyd’s more introspective moments; albeit with a sound that exceeds mere tribute and provides an interesting new dynamic to their repertoire.

‘4000 Years’ possesses a bass line and central guitar lick that harbours bluesy tendencies and the more danceable side of Talking Heads in equal measure, while ‘Life We Know’ concludes the record in triumphant fashion; featuring infectious guitar and incredibly accomplished percussion that is sure to delight those who adored their debut.

Django Django’s second outing saw them steer well clear of a sophomore slump; adding new dynamics, whilst remaining within the lineage of what garnered them acclaim at the outset. With this LP, they’ve continued to set the benchmark high for both them and their contemporaries.