THEY may have passed you by, but for more than a decade Mystery Jets have been producing gorgeous, sonorous music. Now, on their sixth album, the band has grown into precisely the sound they always wanted.
Gone are the star gazing oddities from their Eel Pie days, guitarist Will Rees has even opted for the occasional crunching chord (Telomere, Blood Red Balloon), not to mention the odd Gilmour-esque solo (Taken By the Tide).
Perhaps this shouldn't come as a surprise, after all King Crimson and Pink Floyd are cited influences. But where Mystery Jets win out over today's plethora of neo-psychedelic bands is that they absorb disparate elements to make music that is distinctly their own.
This time round it's more human too. Singer Blaine Harrison locked himself away in a beach hut to seek the muse and the band sounds very comfortable together. Tracks like Bombay Blue and Midnight's Mirror have the confident air of a bunch of mates who know exactly where all this is going.
But the biggest change is a sumptuous, almost cinematic production. Once likened to Roxette, if you must have a sound to compare them with now, think Foals and Wild Beasts meet Teleman.
There's also a lot of talk on this album about letting go of the past. On closing track The End Up, Harrison asks 'Won't it be strange to see how we change when we're all grown up?' Curve of the Earth would suggest Mystery Jets have done already.
This is easily the best thing the band has ever done. For goodness sake don't let them pass you by for another decade.