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Lust For Youth have endured a torrid evolution since 2012. Their first long player Growing Seeds was a twisted mess of plodding post-club indie house, topped by the atonal, baggy ravings of main man Hannes Norrvide. 2013's Perfect View demonstrated a progression of sorts, widening the scope to include beats you could actually distinguish and a selection of keyboard sounds other than the drilling Casio that seems to fascinate their frontman. The album sounded like it belonged to an earlier hour of the night than its predecessor - still somewhere haunted by bodies that felt the worse for wear, but at least enjoying the high octane first hours of the after party. If Lust For Youth are painting a rave in reverse... Well, that's an interesting concept anyway.

The logical next step for that process would place International in the dying hours of the club, filled with plaintive balladry and anthemic floor fillers. The pheromones are replacing adrenaline - dancers are becoming lovers. Sweaty bear hugs are everywhere. Friends are finding lost friends, and a new sense of purpose.

And so, fittingly, are Lust For Youth. The addition of two members to round out the mix has allowed Herrvide to spread some of the burden of creativity around a group he clearly respects. In place of a greasy basement corridor we have air and natural space. Brought together by Malthe Fischer's impressively grounded production, it all feels much more communal. Particularly effective is the guitar work of Elias Bender Rønnenfelt, also of Iceage, who brings chiming, tinny picking to the party and ensures a sense of restraint that the ill-fated Casio just can't replicate.

I wouldn't go so far as to call the resulting album innovative. There are clear echoes from indie dance acts stretching all the way back to the birth of the '80s, from CSS to Depeche Mode via Screamadelica. Crystal Castles, you feel, are the perceived high water mark. It is both a product of its own time, and also completely reliant on what came before, in the same way that all dance pop has been since 2008-ish. 808s, breathy synths, baggy: you can't say they don't know and respect the formula.

International nevertheless manages to succeed where previous Lust For Youth albums have failed. 'Epoetin Alfa' has the potential to be a hit, while 'Ilume' is at least as good as anything Mystery Jets have ever done (not wishing to damn with faint praise). 'Lungomare' breaks things up nicely, successfully reconciling the faceless, cold complexion that Herrvide liked to cultivate with a more mass appeal ambience. Almost everything succeeds, and is fitted into a strong narrative structure.

I always try to review albums based on a simple precept: if an artist manages to create within an album their own plain of existence, with logical, binding rules and an engaging central premise, then even if I don't necessarily fall in live with the construct, it has achieved what it has set out to do. Lust For Youth, for the first time, have absolutely triumphed in that respect.

International is extremely effective as a pop album, with stand-outs ('Armida' is very, very good) and a consistency of tone matched by pretty flawless execution. I may not return to it time and time again, but I can think of five people I know, straight off the gun, who would love it. And that is some kind of triumph.

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