Glass Animals, a British conundrum of creativity. A band proudly making music in an indisputably indulgent manner broke the US like a cricket ball tearing through single glazing with their lavish debut record Zaba. The first signing to Paul Epworth's Wolf Tone Records would never have envisaged whilst crafting the forests, characters, landscapes and narratives of their first LP that one of its singles would rack up 60 million streams on Spotify. A track written by Dave Bayley, a frontman of such introspect that his fellow bandmates are often unaware of the subject matter of songs both previous and now present on sophomore record How To Be A Human Being.

Created in an entirely different landscape, conscious of a Trans-Atlantic fan base, this album is another curiosity. At every opportunity, Dave has to confide within himself, to disappear back into the jungle he emerges with a grounding rendition of reality. The band's penchant for South American instruments is immediately present on lead single 'Life Itself' which has a wobbling introduction as we prepare to cross the bridge back to Zaba isle yet its subject matter is worlds apart. We are spun a tale of North London's answer to Flash Gordon who lives in a basement and has a codeine/cocaine addiction. The chorus is also momentously large, those percussive tones melding with gigantic synth notes and an increasingly intense delivery of 'gotta get back, gotta get free'.

Bayley has commented the inspiration for this record has come from people and stories they have encountered while travelling the globe and there is clear crossover between the artwork, videography and the sonar documentation. Four tracks in and the mythology of the debut has been exchanged for biting confessional, this time to an ex-lover as Bayley rages "maybe you're fucking dumb" between a melodic bridge considering brain dwelling tropical fruits. It is an expectedly unconventional approach to pop with a brutal injection of humanity.

Musically 'HTBAHB' melds influence from world, R&B and alternative in equally adept manner, 'Cane Suga' has an irrepressible groove, and The Carpenters' flute sample used on 'Mama's Gun' is infectious as hell. While lyrically it's as intelligent and intriguing. Speaking recently about his time working in psychiatry during his study of medicine Dave comments, "You spend your time trying to see through someone else's eyes." As you move through this record's 10 track run length, you are introduced to each character as he embodies them with utmost sincerity; omitting their stories, feelings, and impulses. He slips between anecdote and autobiography so seamlessly no song feels directly inspired by any specific event, story or person.

Though complex, there is accessibility here - although 'Youth' is awash with distorted owls and pipe instrumental bridges its chorus is designed to be both joyous and unifying to Glass Animals' already loyal following. Similar to the euphoria of closing 'Agnes', noted as being Dave's favourite.

The painstaking planning of this album reminds me of the work process of Guillermo Del Toro, who illustrates storyboards, characters, and scenes before any pre-production. Through this consideration, he creates worlds within cinema much in a way Zaba became a musical universe. There's a reason there is no sequel to Pan's Labyrinth much in the way How to Be a Human Being is not an extension of its predecessor more so an original entity altogether. Although elements remain, the core of humanity and character drive this collection to an equally intriguing effect and leaves a far more immediate impression.