In fact, opening track “Rag Doll” is a proper wrong-footer. Misty effects and wavy eastern synths lay on some metaphorical dry ice before the regimented guitar and icy Ian Brown delivery turn it into something like Joy Division with added disco. If you’re left feeling chilly, “I’m Not Thinking About You” follows this up with a big T-Rex cuddle of flighty acoustic bubblegum. All before “Envy Street” splits the difference with a Reverend & The Makers meets The Kinks bit of spiky social commentary; containing the album’s best lyric, “Mrs Jones has got a new conservatory.”

As this seesaw of frothy wiggling and moody introspection continues, it makes for an interesting ride. From the trippy bounce of “Sue”, you’re taken to the big, bleepy Kraftwerk shapes of “The Blue Room.” Then, from the woozy, Dylanesque charm of “Goodbye,” you’re kicked out in to the cold with the windswept Johnny Cash vibe of “The Ballad Of John Hooper.” And while “You’re So Square” and “Nothing Left To Lose” possess the beautifully fuzzed-out atmos of The Velvet Underground, “Ordinary Person” has all the anthemic architecture of classic Oasis. Only without taking itself too seriously. Thank God.

The stylistic mood swings on ‘Latest Pop Sounds…’ make for an entertaining listen. But luckily every track has the same keen sense of melody that no amount of weird effects and Wedding Present feedback can ever compensate for. Good, solid pop music. Even down to the baby gurglings and crystalline acoustics that make up final track “Daisy.” John Lennon may have made half the world cringe with “Beautiful Boy”, but here Blake has the good sense to leave the vocals to the infant.