Well, what can I say? On the one hand, I want to hate this album because it's so pretentious that it doesn't even feel the need to understand the meaning of the word (their press kit, for example, claims that one of the tracks "...is like a condensed A Day In The Life had The Beatles managed to fit in a profound romantic declaration for a jittery age").

On the other hand, there are moments when it becomes as good as it thinks it is, and those moments are magnificent.

In case you've been Sleeping Beauty these past few years, you'll know that The Polyphonic Spree are a clan of around 20 robe wearing songsters, featuring orchestra and choir (apparently they're wearing robes so that all of the members' different clothing styles wouldn't be a distraction, although actually wearing them seems to me to be a little distractive).

Though they do have a unique sound, track one (named Section 11, to continue from The Beginning Stages Of, their first album) brings out the piano writing to the full, and it sounds like Coldplay. It's a pleasant enough track because of this, despite some moments of jarring in which the mixing which don't really add to the result.

Anyhow, the comparison with The Beatles is a good one, because track two (Section 12, Hold Me Now) doesn't just sound like Oasis, it IS Oasis. The Gallaghers will be listening to this and arguing over which of the brothers released a single behind the other one's back. Having said that, it is a wonderful four minutes, and a central military section leads into an almighty chillingly emotional climax which would have the brothers overcome with forgiveness with tears in their eyes.

Next track (Section 13, Diamonds/Mild Devotion To Majesty) contains a one of The Spree's favourite tricks; that is to say a song with two well-written choruses and nothing else. There's an ostentatious-sounding bit half way through (with a few intentional mildly-off notes), but apart from that it's unremarkable.

All the better for Section 14, Two Thousand Places, which is actually a wonderful song. It's memorable, well written, has nice chords, great singing, and a choir crooning in a way ever-so-slightly like Elton John.

One of the big problems I have with the album is that it tries to have such a different and unique soundworld that when you've heard one song, it's fairly difficult to distinguish between the rest. Going from Section 13 to 14, for instance, it's the same chord, with the same orchestration (flute, horn, theremin), and the same beat. I actually had to check my CD player that it was a different song. This is one of the let-downs of the album. In addition, all the songs contain electronic sounds resembling UFO's (obviously relating to the 'otherworldly' robes/artwork/lyrics), but a) they become déjà vu after the first track, and b) they were sufficiently annoying to scare my cat out of the room.

Section 15 is a short and beautiful intstrumental, but it's followed by a pretentious introduction to Section 16, One Man Show, which features operatic voices and pizzicato strings. Now correct me if I'm wrong, but I believe using such instruments can be highly effective, but only if the quality of the music can justify its presence (look at Joby Talbot's arrangements in The Divine Comedy, for instance). The problem is, the quality of writing in One Man Show just doesn't cut it, and the use of these elements simply appears indulgent.

This may be pompous, indulgent and everything else you can call it, but it's still at times extraordinary and original. Section 17, Suitcase Calling has lyrics ("It's the feelgood time of day") that just made me want to smile, and the whole album does have an air of infectiousness about it (but only in a good way, mind!).

- Sacha Esterson

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Mercury Prize 2009 nominees