Completing a trilogy and committing to that format is no easy task, for the best of musicians. The Deer Tracks have completed their Archer Trilogy with their latest release, and instead of it heralding an end, it really does seem to shine through as the start of something pretty impressive.

So sure, we have a Swedish electro-duo, and, yes, they aren't called the Knife. Whereas the Knife went from playful electronic dance-rockers to art-house experimental techno in a heartbeat (I'm so, so sorry), the Deer Tracks have evolved their staple of electro-pop and the results on this release are pretty incredible at times.

Really, the album comes in two parts, the first part only lasting three songs, 'III', 'W', and, 'Divine Light'. 'III' serves as an introduction to the album, harmonised vocals unnervingly coming and going, before we dive into 'W'. The truth is, 'W' marks the descent from something which the Deer Tracks are really very good at, moody, driven electronica, with clashing melodies and worrying lyrics. 'Divine Light', unfortunately, appears to be a miss; a dance beat with little imagination of its own, buried under a bizarre vocal delivery, in a style unlike anything the Deer Tracks have yet done. Luckily, however, this then marks a real positive turnaround for the rest of the album.

'Astral Ship' kicks us off with a lovely vocal piece descending into harsh percussion, before both vocals and percussion join together, creating something incredibly rewarding. Sure, it may be more 'pop', but, shit, that seems to be one of the band's strengths. 'Red Eyed Zebra' starts to sound very quickly like something off 'Skins' (you know, that bit where they start to do all the drugs and have sex), but again, the band's pop sensibilities really elevate the song above being just a passing piece of filler. 'Lazarus' is the only song out of place slightly in this second half, with slightly confused lyrics, it feels like a muted dance floor tune. 'Explodion' crafts a syncopated percussion line alongside delicate vocals, and out of nowhere explodes into an sweeping chorus, at home in any BBC Sport montage. 'Bodiehicle' is an amazing feat, as the Deer Tracks manage to create something which feels incredible personal, and wraps a dozen different sounds around each other, yet still allows the beautiful vocal line to carry the song through to its conclusion. 'The Ghost Hour' seems to be the love child of 'Lazarus' and 'Explodion', and before we know it, this whirlwind of an album throws us at the door of 'Road to', a fitting name for the last song in the trilogy. Sombre and reflective, it really blows apart nearly everything the band has built up about themselves so far, and ends the album on a really big high.

This really is an album where one particular sound comes along very early on, and blows away the more 'glitchy' side of the Deer Tracks. For better? Sure, for now, definitely. The Deer Tracks definitely aren't going anywhere, and it's probably safe to say that this is their best release yet. With a side of them which is slightly more accessible (and not just accessible, but really good), I genuinely cannot wait to see what the next step is for the band.