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Chairlift’s remarkable pop streamlining continues at thrilling pace: after breaking through as a kooky indie band soundtracking iPod ads in 2008, their first giant leap came with their second album, ‘Something’, of irresistible Madonna-indebted hooks in 2012.

Now, ‘Moth’ is another major progression: preserved from ‘Something’ is the duo’s preternatural ear for melody, simultaneously novel and familiar, and Caroline Polachek’s knack for the sort of gut-punching lyrics normally found on Joni Mitchell albums (particular the gorgeously sad centrepiece ‘Crying In Public’); added to the recipe is an elegance of arrangement and weightless production that lifts the whole album effortlessly from the speakers (the latter probably aided by the band’s work on Beyoncé’s latest LP).

What’s more, Chairlift’s tendency to let albums sag towards their end is entirely shaken off here: ‘Moth’’s final trio of songs are a delightful demonstration of the breadth of the pair’s skills. Like last years’ criminally ignored Carly Rae Jepsen album, ‘Moth’ is a modern pop gem – seductive, nuanced, sophisticated and, perhaps most importantly, continued progress.

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