There is a school of thought that says any band naming themselves after a work by Charles Baudelaire is worth a few minutes of your time. As with any fictitious school born of journalistic convenience, there is of course a a rival educational establishment down the road that is populated by plain-speaking, rough diamond types who failed their Shed Seven plus exam and will tell you that Baudelaire is rubbish. They much prefer Rimbaud.
If these people existed, their point would not be entirely without merit, although it would probably mean that they'd overlook this little treasure from London indie popsters, Fanfarlo. The first single from a forthcoming second album, 'Deconstruction' is what might happen if The National covered Babybird's 'Goodnight': a happy blend of high art and the home-made, where uncomfortable imagery gives rise to new-found hope and the details that don't fit the story are cast aside.
And it's this sense of a new start that is the key here. It's in the way that the windy keyboard of the opening bars surrenders to a tinny drum sequence before the urgent chopsticking beat takes over. It's in Simon Balthazar's very deliberate, deceptively simple, Joy Division-style lyric. It's in Cathy Lucas' just-out-of-earshot spoken word interlude, in the stifled trumpet and in the delightful piano outro. Blink and you won't miss it.
This is the kind of record that could have been made for two hundred quid in a bedsit and would still have sounded brilliant, but you are thankful that it wasn't. The production, although unfussy, adds layers of texture, with each chorus slightly more beefed-up than the last and a rhythm that becomes ever more insistent, like a pre-pubescent on a long car journey. But in a good way. Obviously.
On this evidence, Fanfarlo's second album is looking anything but difficult. How thoroughly modern of them, eh Charles?