The album kicks off with “The Head and The Heart” with it’s wonderfully chorus drenched arpeggiated guitars and rumble tumble drumming. When vocalist Brian Gustavson takes over, it’s striking as there’s a clarity to his performance that hasn’t been heard previously in the band’s output. Clarity is a good word to describe this new phase of Spectres career, be it through the vocal performance or with any of the instrumentation featured on the album. This version of Spectres maintains the scrappiness people have come to expect from the band but it’s all coming through clearer, showcasing the band’s great playing and knack for writing a catchy song. On “Dreams” the band is in full New Romantic mode. The floor tom and muted guitar holding everything down while the bass bobs in and out of the proceedings allowing Gustavson’s vocals to float high above it all. “Pictures From Occupied Europe” shows that the band isn’t just going to be satisfied singing love songs. The track and one of the album highlights shows the band still has a foot, at the very least, placed in the punk world. The rhythm section glues the song in place wonderfully while the duelling guitars add this element of controlled chaos that is irresistible. “Years Of Lead” features one of the most ear worm-y vocal melodies that Gustavson has ever sung and, while being totally hooky, pulls on your heartstrings as well. The album wraps up with “Along The Waterfront” capturing the band at their very best. On the surface it’s The Smiths meets early The Cure, and while that statement is huge enough, they still make it their own and to be able to stand out among those influences says a lot about how good Spectres are.