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For pop music to work, it has to be big; big sounds, big production, and most importantly, big hooks. It needs to have a sheen and simplicity whilst simultaneously being experimental and expansive. It's a fine line to tread. But look at Rhianna, Drake and even someone like Turnstile's newbie Oscar. They have us singing/rapping/sing-rapping from the bottom of our gut, and dancing till our feet swell.

From the evidence of Big Cosmos' previous releases, this was what they were aiming for. The silky, immersive, but distinctly ear-wormy songs found on first EP Illuminance and second EP Anatomy Atlas gave the band a distinct sound. Andy Jackson's voice gave them a strong focal point to swarm around, and really make us feel and dance.

After these EPs, album In Moonshine seems like it should be a continuation of this evolution. Instead, it unfortunately stagnates. Despite the PC Music aping cover art, there's very little of the immersive band that were present before and instead the band flounder.

Opening track 'Limo' starts off well - a pensive piano line, stripped back vocals and the hint the track could evolve, slowly burning into something great - but instead it builds into nothing, sounding a little bit too 'stadium rock'. Its twinkling guitars have no urgency, the line "I was still awake" being pushed out by Jackson, combining to sound like a Snow Patrol b-side.

There is obviously nothing wrong with trying to write for a stadium, something Wolf Alice have shown so brilliantly this year, but there's a fine line to tread. On one hand, you can sound like Arcade Fire. On the other you sound like Coldplay. It's into this second camp Big Cosmos have unfortunately slipped.

As a hint of where the album could have gone, 'Blue Corduroy and Pearls' gets the injection of urgency the rest of the album needs. Its understated bass gives it a kick, and its chorus actually sticks and doesn't get lost in meaningless guitar reverb.

There's a lot of potential here. The songs are just the wrong side of stadium filler, but it's a fine line to tread. There are moments on here of pure elation, the guitar solo in 'Devotion' showing the band truly letting go, Jackson's voice straining as he laments that "we're only rainbows away from everything" on 'Rainbow Chaser', but these moments are too few and the aimless verses swallow up whole songs.

To write a good pop song, you have to first evoke emotion, and this is unfortunately what Big Cosmos have missed.

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