The Clientele have been making small but beautifully formed ripples in the English indie ocean for quite a few years now and Strange Geometry, their second album proper, and strongest album to date, is likely to enlarge those ripples, like the kind that have seen them sign a lucrative publishing deal over the pond in America.

There’s a central theme of melancholy and loneliness that runs throughout the album and this mysterious recurring ‘K’ figure seems to have an influence on this tone. Songs such as E.M.P.T.Y reflect this mood: “I get in so tired, to the saws & bows that spell out E.M.P.T.Y.” They wrap this melancholy in a warm blanket of Love, Zombies and Felt infected shimmering guitar pop.

Singer/guitarist Alasdair MacLean has explained that Strange Geometry is about creating atmospheres and has stated that part of their inspiration comes from “the person who wanders around with no object other than to soak up atmospheres and symbols.” This would explain the apparent isolation throughout but also hints at the origins of the album title where shapes and objects define surroundings and alter moods. ‘Geometry of Lawns’ represents this with the line, “Leaving came to us just like a song, a dull geometry of lawns.”

A fair few songs on the album are augmented by a string quartet arranged by the French composer Louis Philippe. This adds a haunting 1940s texture to the overall mood of the album and offsets the 60s sunshine pop tones rather effectively creating a fresh and modern take on the past, like Hal and The Magic Numbers have been attempting.

After repeated listens, Strange Geometry really gets under your skin and you’ll wonder how you’ve managed without its lovely atmospheric tones. It is a most rewarding album full of impressionistic character.

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