The first thing that brought the band to my attention was their name, and I couldn’t help but internalize the question: "Bardot or Nielsen?" Both feel very much like old-time references, but I couldn’t think of a more modern contemporary.

This 11-track album opens with "There Always", and I can’t go any further without addressing the elephant in the room, at least for me. It’s almost smack-you-in-the-face obvious that the lead singer has heard a Morrissey song or two and seems to have re-incarnated himself, at least for this track. Not that I mind, I’m a huge Morrissey fan myself. I dug a little deeper into the band and, indeed, they supported Morrissey in 2025. And I’m sure, if he heard this song he'd be very flattered. The track itself, apart from the vocals, does resemble a Morrissey song, but musically it also draws from a wide range of bands and periods.

"Slumber Party" continues in a similar vein, but musically it's much more vibrant. The Morrissey vibe is still there on the vocals, but it's much more fleeting and diminishes even more when he opens up and lets rip.

The next track, quite a mouthful, is "I Danced with Another Love in My Dream". It’s upbeat again, but carries a more contemplative tone overall. Around the magical two-thirds mark, there’s a break that feels very much part of a soundtrack, giving the track a brief pause before picking up again for the conclusion.

In "The Pitt", things take a decided downturn in tempo, not in the quality of the music. Now I think is a good time to give a brief shout-out to the band, where the music is just as important as the vocals. Both are great in isolation, but together they form a perfect marriage.

With the track "Truth is Stranger Than Fiction", I feel we’re hearing a more natural, authentic version of the singer’s voice. Because of that, I found myself thinking more about the track as a whole, rather than focusing on the voice and who it reminds me of. I love nods to influences, but sometimes they can get in the way a little.

Things are shaken up a bit with "These Acts of Which We’re Designed", which opens with a very Harold Faltermeyerseque synth intro that underpins the song throughout, giving it a distinctly different flavour. Lyrically, it’s a little on the light side, but in terms of mood and atmosphere, I think it nails it.

The next track "Sillage" is very much a connector between tracks. It's a 30 second synth bridge, that flows effortlessly and continuously, connecting the tracks on either side.

The previous track sets the tone for "I Can’t Have You All to Myself", which does sound like the title of a Morrissey song and indeed carries some of his DNA, enough, I think, that it could give Morrissey a great track to cover himself. Even the lyrics have that same dour and pity and I particularly loved, "I'll stay here, while you are somewhere else", though I think I would have said "I'll stay here, while you stay somewhere else", yeah like I'm a songwriter.

With a more contemporary pop sound, "I Can Take the Sun Out of the Sky" I think would be a good choice for a single release, as it's a track I would like to think could easily gain airplay. Don't get me wrong, I haven't come across a duff track yet on the album, but for mainstream, I think this would prove an easier fit.

"The Early Days of Love" opens with a very Marr-sounding guitar intro, and even the acoustic guitar carries the same feel. Yet the track overall has a distinctly two sided vibe. Maybe I’m dating myself, but I keep being reminded of The Associates, particularly in the vocals.

Closing the proceedings is "Send Those Memories", which is a wonderful, downbeat, chilled track. I'm often a big proponent for having albums end on something a little more thought provoking and reflective, which for me often leads to me playing an album again.

This has been an album I’ve thoroughly enjoyed. I’d heard a few tracks in passing and came to the album expecting a pale Morrissey imitation. Yes, there are certainly influences, not just from Morrissey, but from bands like OMD, New Order, The Associates, The Smiths, and other groups rooted in the ’80s and ’90s. Here, though, they’re influences that give the album flavour and texture, but it’s very much the band’s hard work and talent that make this album what it is, a must buy.