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Personally I think he’s at his best when he adds a bit of swagger and dumb optimism and stops trying to act twice his age.

That’s what we are all asked to do in this modern world: plug in, leave a message, and turn off. Minny Pops just sound-tracked and defined this feeling before most others did.

It’s unbelievable that a crabby old listener like me can fall for this sugar-coated dream stuff: but I do.

There are lots of squeaks, creaks, groans and taps which allow the listener to conjure up an image of a dirty room in a backwoods, battered, wind lashed part of Twente or Friesland.

Ah, The Moon is Big.  These nine songs of grandeur and crackpot simplicity - by turns insidiously familiar yet frustratingly remote - are weighed down by their spiritual forefathers.

the angst in the record feels real, and thank fuck, we don’t have any of that “softly, softly look at me with my clever instruments while I play a lullaby” nonsense that seems to have overwhelmed this genre recently.

I kept thinking of an emo Dexys Midnight Runners when I first heard S As In Assassins

The whole LP is an exercise in pushing a limited set of sounds through a number of hoops, and with that in mind, it maintains its vibe brilliantly.

...this band could if they so wished make something really powerful and interesting, no doubt

You do feel you are walking the fog-laden streets, going to a meeting of The Golden Dawn or some such…

A synth-led duo from Perth Australia living and recording in Leiden, Holland. Beat that.

It’s an okay pop record by an act that could probably do a lot more if they tried stopping to please & used less phraseology.

I’m guessing that his dad likes Jonathan Richman and lots of stuff like Joe Jackson or Beach Boys: in essence sunny and honest, open-hearted pop.