You may not have heard of Bent, but you Probably know their music. Like most chill-out groups today, the Nottingham duo have a rich outlet for their music in the advertising industry. On ‘The Everlasting Blink’, the follow up to 2000’s ‘Programmed To Love’, Bent have discarded the sample-heavy methods of their debut for more organic, synthesised sounds. The cynical mind might see this as more conducive to the tender needs of advertising, but Bent are worthier than that.

For a start there’s the special edition packaging. The CD comes in a patient file -more specifically a psychiatric patient -complete with tab and doctor’s notes. Only constant repetition of the old mantra “never judge a book by its cover” prevented me from instantly deeming the album a classic.

Inside its musical pages lie a number of beautiful passages. At time Bent have more in common with Vivaldi than their dance music contemporaries, as lush strings flourishes swell to the fore, backed by dreamy harps and flutes. Like Lemon Jelly, they hark back to a simpler, rustic view of Britain, while retaining very obvious futuristic elements. This is most apparent on the title track, which in parts is reminiscent of the foreboding synth music from Stanley Kubrick’s ‘A Clockwork Orange’ -itself, now a quirky old-fashioned vision of the future.

Continuing the theme from the previous album of odd collaborations, ‘Stay The Same’ features the heavily distorted vocals of David Essex. There’s also the unmistakeable voice of The Beloved’s Jon Marsh, while Billy Jo Spears joins them for a delightful jaunt down country roads on ‘Long Without You’.

‘The Everlasting Blink’ is a more rounded and consistent record than its predecessor. Yet, aside from the dystopian nightmare of the bonus track, it’s more controlled and contains less surprisingly eccentricities than their debut. Yet the overall quality of the songs should ensure that, soon, you’ll Probably be hearing them on your TV screen.

words: Colm Larkin