In the video for the stand-alone single 'The Trenchcoat Museum' (released between Yard Act's superb debut album The Overload and this long-awaited follow-up) singer James Smith describes the band as "a bunch of sell-outs, whereabouts currently unknown". Thankfully, the band are present and correct for an album that massacres any hint of them not living up to the hype. Opening with the languid, laidback 'An Illusion', there are shades of 90s Beck on this, a merging of genres as the vocals are delivered in an almost rap-style. The development of Yard Act's sound can be heard all over - the snatches of radio station style dialogue that segues out of the album opener into 'We Make Hits', one of the "singles" (as much as groups can release "singles" these days...). Back in more traditional Yard Act territory, we're treated to a killer bassline, frequented with orchestral stabs and the quite frankly amazing line: "if it's not a hit...we're being ironic".

'Down by the Stream' feels nostalgic and fresh both at the same time, in the way 'The Overload' had the excellent 'Tall Poppies', a deeply personal song about a hometown and the life and times of someone who lived there, this track reflects that in the descriptions of bullying and growing up, the guilt felt at once taking the piss out of someone and now, being in a successful band, taking the chance to apologise. The track takes a dark turn halfway through that serves as a direct counterpoint to the rest of the song, surprising and delighting with its ability to turn the track on its head. 'The Undertow' effortlessly mixes bossanova rhythms with orchestra (really... stick with me on this) and a strident, art-rock melody. It's the song Franz Ferdinand or Arctic Monkeys would cover off this album, if such a thing were to happen. You heard it here first.

Another single, 'Dream Job', is perhaps the catchiest track on the album, a definite new sound from the band after The Overload came out, but no worse off for it. With a tantalising disco feel, singalong chorus and perhaps the best usage of the words "mint" and "boss" on an album this year, it's one to tap your foot to in the sunshine at the festivals. More childhood nostalgia occurs in the angular 'Fizzy Fish', featuring beautifully poetic lyrics, and being one of surely a very short list of songs to namecheck a pick 'n' mix favourite (by all means, let us know your favourite sweet-related songs in the comments...).

'Petroleum', despite being another 'single' release from the album, was a bit of a grower for me - it didn't immediately land with me when it was released as a pre-cursor to the album, but it's climax does showcase Yard Act's ability to rock out with the best of them, and should serve them well when performed live. Aided by guest vocalist Katy J Pearson on 'When the Laughter Stops' (which boasts a great clown-themed video), there's little else to say apart from it's a fantastic up-tempo track that features a recital of Shakespeare. Really. 

If you'd wanted some synthesizer action on the album, the band grant it you on 'Grifter's Grief', a track more in the style of that standalone single 'The Trenchcoat Museum' (I lament its absence here, but it IS eight minutes long...that sort of addition would've messed enormously with the vinyl tracklist of the album!) featuring DJ scratching, samples and a great kick-up when it comes to the ending. The longest track on the album, 'Blackpool Illuminations', begins quietly - almost conspiratorially - as if Smith is voicing an innermost secret in confidence. You half expect it to merge into a John Shuttleworth-type composition, such is the extended dialogue at the beginning. Similar in structure to the excellent Pulp B-sides they experimented with in the early 90s ('Sheffield: Sex City' and 'Deep Fried in Kelvin' come to mind...) it’s more like a short story than a song. The epic seven-minuter also serves as the song that ties the album together, cleverly namechecking previous tracks like 'Fizzy Fish' and 'Dream Job', as well as a painful incident with a windowsill, and ends with a wry, knowing comment on critiques of this second album. It's a delight to listen to, and makes a lot more sense on repeated listens.

Almost as an epilogue, 'Vineyard for the North' conjured images of the track 'Weak Become Heroes' by The Streets - a subtle, dance-music groove to it that bobs along and features more of the poetry-recital lyrics we know and love Yard Act for. 

And there we are. Where's My Utopia? is an album that really showcases how a band can develop, evolve and not rest on their laurels. The perfect mix of retaining the sound that drew them a committed fanbase, but also no fear in letting loose with something out of the ordinary. In a way it's almost as if Yard Act are not the same band that they were - often we use that phrase to describe a band who've lost their touch, gone off the boil, or generally become a bit shit. Not so with Yard Act, who, even in March, look to have brought us one of the albums of the year. 

Pre-order Where’s My Utopia HERE

Review by Peter Muscutt