So first, some reflections on Don't Smile At Me, which has hung around like a jar of jalapenos in the fridge getting hotter and hotter over time. I think the deceptive simplicity is what kills it, that ukulele (or whatever) riff in Party Favor transforming a nursery rhyme into a banging anthem (of sorts). And we're straight back into that again with Bad Guy.

Just to say I am not going to follow any of the capitalisation thing, it's too hokey for me. And I only heard of Bell Hooks yesterday, and that was because she died, so fundamentally too late to start now.

I actually just had to look Xanny up to make sure my speakers weren't on the blink. But again - so much going on against such a simple backdrop. This is some serious stuff. It absolutely defies any description of throwaway or disposable stuff. See Me In A Crown, Wish You Were Gay - these are just instant hits, simple, yes, but aren't all the best songs? Isn't the point of Wonderwall or Redemption Song, or whatever, that they are easy, simple, hooky?

Is some of it cringy, a bit too twee, though? I don't know.I think that's something only repeated listens could get you. I can see how it might cloy, I can see how it might end up with an edge. The thing that comes through loud and clear is what a genius the producer brother is. This guy must have his phone ringing off the hook.

Sometimes the vocals come in and it's like Amy, or the other Billie, and you can see a kind of Adele-styled megastardom looking - and hey, maybe that's what's coming. But then I Love You comes in and it has the kind of vulnerability, subtlety, heart that is perhaps missing from a lot of music these days.

I think another key reference point for me is Floating Into The Night by Julee Cruise. Now there's a record I should listen to again.

A twenty-first-century masterpiece.