HOME comforts are king for Ulrika Spacek, the London five-piece have recorded their second LP Modern English Decoration following the success of their debut The Album Paranoia, both of which were recorded at their shared house in the capital.

The former art gallery known as KEN has clearly laid an art-rock coat of paint on the Modern English Decoration, set for a June 2 release on Tough Love.

DIY in nature but not in sound, Ulrika Spacek’s sophomore effort feels evolved and considered. Straying away from the archetypal three-minute indie rock anthem, Modern English Decoration by contrast is expansive and requires maximum attention.

Album opener ‘Mimi Pretend’ is a triumphant expression of frontman Rhys Edwards’ confidence and maturity as a songwriter. A real slow-burner, the album’s lead single goes down smooth and registers as a potent mix of early Bombay Bicycle Club with a dash of Django Django indie artistry.

Title track ‘Modern English Decoration’ struts and slides with real class and verve, taking on interesting spacey soundscapes layered under dreamy vocals. Breaking the mould, ‘Ziggy’ is an energetic yet twisted pop song with the makings of a soaring single. Distorted and lingering, Edwards wails over crackling guitar “I might as well console myself” and questions “when will I feel pain?” ‘Full of Men’ is similar in it’s nod to classic indie riffs, yet Edwards’ voice stands out feeling separate and defined, giving the song a stylish edge. ‘Silvertonic’ is taunting and brooding, whispers give way to cathartic bursts of jangly guitar before subsiding back into a glimmer and crash of light percussion.

With a psychedelic fuzz of guitar and crunch of bass ‘Everything, All The Time’ adds a whole new dimension to Modern English Decoration and is the best example of the London five-piece’s passion for varied musicality.Chugging bass opens late album banger ‘Victorian Acid’ before a Tame Impala-esque melee of guitar grabs you by the scruff of the neck and throws you up against their shuddering amps. ‘Saw a Habit Forming’ wobbles with a unique vocal effect manipulating Edwards’ tones into an underwater drone. At over five minutes in length, you are praying for the end before it has barely even started.

Much like its title the album’s third track ‘Dead Museum’ comes across as limp and uninspired, an exhibition of what is not good about Modern English Decoration.However, Ulrika Spacek do recover from the early baton drop to salvage their reputation as a burgeoning alt-rock talent. Ending on the toe-tapping fuzz of ‘Protestant Work Slump’, Modern English Decoration is full of expression and life. Sometimes it misses the mark, but every great artist has their flaws.