Comfort - What's Bad Enough? (FatCat 

Release Date: Out Now

I have been really enjoying the raw and honest singles that Glasgow siblings Comfort in the run up to this album so I was delighted to see that there were 12 whole tracks of goodness contained on 'What's Bad Enough?'. The album opens with 'Billionaire Potential', a percussively distracted track that has a Jazz outer skin with a punk heart and a lo-fi electro voice - the tone is set. Former single 'Real Woman' has a slightly more laid back flow with a trip-hop meets reggae vibe before 'Pride of Britain' attacks all your senses at once, making me laugh at the thought of Simon Cowell and co trying to understand the enigma that is Comfort. 

I haven't mentioned the vocals of Natalie yet because it's hard to define such a distinctive voice but if you you like the delivery of artists like Mark E. Smith, Young Knives and Peaches then she will be right up your street. 'Born Bad' uses those vocals to puncture the otherwise smooth and sparse melodies while 'Normal Til It's Not' has a more subtle and moody vibe that matches those unique vocals with a drum beat that keeps you guessing all the way through. On 'Too Many To Count' the woozy electro melodies sweep in and out of your periphery to create an ethereal atmosphere. 

If you want to know what a cheese fueled fever dream about the Clangers sounds like then allow me to point you in the direction of 'No Honest Work' while 'Never Been Ignorant', the longest track on the album at just over three minutes, takes on ignorance around women's rights without blinking or flinching the whole time. The groove and jerk of 'One Size Fits All' makes me want to strut down the street with a confidence that I don't deserve but 'Cowardice In Numbers' brings you down to earth with bump due to the rattling beats and sparse melodies. 

The brilliantly titled penultimate track 'Same Shite, Different Lad' is a bristling, pent-up slice of agit-punk that leaves you breathless and exhilarated. Closing track 'Wild & Fragile' sounds like a 90s R&B track played backwards for an interpretive dance troupe to move improbably to but it still retains that punk heart throughout. This album won't be for everyone, Comfort won't be everyone but then music for everyone is usually awful so this should be celebrated. 

More information: