2011's self-titled debut was an intriguing introduction to Kacey Underwood and Alice Costelloe's musical partnership, an album filled with surprising intimacy in both a musical and lyrical sense. It hinted at the duo blossoming into a great band at some point, and it turns out that that moment has arrived sooner than anyone expected. Having put miles between their previous output and their new material with the cacophonous 'Teradactol' late last year (suddenly, they're a noise-pop band with serious chops - who knew?), there's been a lot riding on their second album, which isn't half as downbeat or introspective as its title would suggest. In fact, if you're looking for some June gloom, June Gloom isn't the best place to look for it. There are certainly more restrained moments, and lines like "I can see all the things I'll never be" pepper the musical landscape here and there, but in changing their approach to making music, Underwood and Costelloe have harnessed that potential which was in evidence a couple of years ago.

Big drums, bigger hooks, huge choruses; there's 'artistic progression', and then there's essentially reinventing yourself. Big Deal have gone down the latter path, and it's this metamorphosis which is their new album's defining feature. The hushed intimacy of old has been done away with - 'Golden Light's acoustic opening is swept away once it settles into a groove and finally roars into life. Even Underwood and Costelloe's voices have become stronger; they continue to perfectly complement each other - something which is most noticeable on the record's most beautiful moment, 'Little Dipper', which returns to the hard-hitting personal nature of older material - but like everything else on show, they've been beefed up considerably, the inclusion of a full band helping the band's nocturnal sound step out into the light and prove what we all suspected: that their debut album showed only a fraction of what they were capable of.

Indeed, sometimes it seems as though the unmistakeable dual vocals are the only thing that hint at this being the Big Deal we fell in love with. However, scratching beneath the surface does reveal that the duo's albums share a common ancestry; there are moments scattered throughout the album, like the evocative hooks of penultimate track 'PG' and lead single 'In My Car', that are swathed in noise and bombast but sound like vintage Big Deal work if one imagines stripping everything away. Then, there are songs which sound more focused and direct than before, with 'Dream Machines' up there as one of their best to date, and the moment at which June Gloom begins to hit its stride. There are plenty of solid-gold hits here, among them 'Call and I'll Come' which brings to mind an even more potent-sounding Best Coast; and the valedictory wall of sound that acts as a coda for 'Close Your Eyes' is a fittingly triumphant-sounding finale. Now that they've produced an album that easily lives up to their moniker, they're ready to step into the spotlight.