Thrashing guitars, thrumming ukelele, raucous brass, double bass and bar-room piano provide the sonic back-drop. The sterling vocals of Swede Pelle Almgren are once again to the fore, and his glorious trademark harmonies are a career-best, especially on the über-ballad ‘21st Century Blues’. Live performance is key, and studio trickery is either reduced to a minimum or is transparent. In correspondence with the bigger picture, each song has an ending, with not a fade to be heard. From faux big-band swing (‘If Boys Could Talk and Girls Could Think’) to breakneck amphetamine-pop (‘Interesting Times’), from dramatic big-hair ballads sung in Latin about the perils of celebrity (‘Incognito Ergo Sum’) to pub-piano sing-alongs bemoaning cheap flights (‘I’m Budgie (Don’t Fly Me)’), from crunching pop decrying the actions of the Almighty (‘Come Out Come Out Whoever You Are’) to the quasi-Floydian epic ‘You Can’t See Me’ which closes the set, Gordon spans the gamut. The sonic melange includes flocks of bleating sheep (‘I Have a Chav’), the gentle splashing of waves around the protagonist’s canoe (‘Panama’) and the uncertain countdown of the flight controller at the Kennedy Space Centre (‘Houston We Gotta Drinking Problem’). Take the blueprint of popular song, redesign to serve the purposes of rock, add a leavening of George Formby and the anarchic absurdities of Stanley Holloway and the Bonzos, and file under ‘new music-hall’. User-contributed text is available under the Creative Co