What salvage you salvage when the area’s falling aside? Steal to the streets? Scurry to the hills? Essentially the most up to the moment album by this British americans-rock quartet suggests that a blend of delusion and realism can provide a closer plot of living.

Their easiest-known member, Richard Dawson, addresses Facebook-location flag-fiends on Uninteresting in a Put up-Fact World – “the mythical country you vow allegiance of is long previous / It used to be by no plot here” – his grave tone offset by Rhodri Dawson’s Welsh title callings in a nursery-rhyme melody. Between the euphoric singalong choruses of Scales Will Fall, Morning time Bothwell delivers what she calls “bard rap” – an everyday vocal mosey with the mosey somewhere between spoken phrase and hip-hop – to decry capitalism and like a great time grassroots resistance. Yet one more pleasing, whirling chorus led by Sally Pilkington sits on the coronary heart of Conclude of the Rhythm, a nice looking jig that lays out a manifesto for collective action. That collectivism is in the tune itself: peculiar yet richly populated arrangements of guitars, sax, trumpet and more, with hundreds of company (at the side of kids on flute and vocals).

Nevertheless apart from to the placard slogans, there’s fantastical bucolic storytelling, about a steadfast horse known as Clara, a gathering of spirits at a millpond on the awe-sharp 20-minute track Sure Pools, and the psychedelic doom-imaginative and prescient of Land of the Uninteresting, the latter delivered in Davies’s fine Welsh poetry. These, crucially, don’t essentially feel escapist, but are phase of the album’s shouldn’t-be-radical political imaginative and prescient, where idealism, belief and the natural world are intertwined.