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Apr 19, 2016 Web Exclusive By Billy Hamilton

The emergence of Teleman in 2014 felt like something to get excited about. The U.K. quartet’s stream of infectious early singles—including the sublime “Cristina”— pointed to something very special. Yet, while good, debut LP Breakfast was never able to capitalize on this early promise. In truth, it felt like a holding statement for something else.

It’s quite possible that something else is Brilliant Sanity. A more honed, less motorik variation on its predecessor, this collection of 10 synth-swathed, harmony-smothered cuts showcases the band’s nuanced appreciation of sound. The result is an album littered with immaculately crafted indie pop songs.

Sonically akin to the output of awkwardly pretty Brit luminaries Field Music, songs such as “Fall in Time” or “Superglue” are elastic enough to feel both triumphant and melancholic. Much of this is down to a partnership of Tommy Sanders’ brittle, slightly off-key intonation and synthesizer wobbles, which reach a sublime apex during the forceful, charging fuzz of “Tangerine.”

What comes across most acutely is the record’s distinct sense of fun, both lyrically and musically. “English Architecture” quivers to a twinkle of xylophone; “Glory Hallelujah” is a cacophony of tap-dancing keys and choral harmonies where we’re urged to “step on the spiders”; while “Dusseldorf” is the fuller, more urgent evolution of the band’s early smart-arsed indie pop clangs.

By simply placing a fuller smile over their songwriting, Teleman have created a sharp, smart pop record that—if there’s any justice in this world—should bring them the wider attention they merit. Now it’s finally time to get excited. (www.telemanmusic.com)

Author rating: 8/10