A reverent opening of organ sounds and choral vocals merely hints at the joyousness to be found on Moonface & Siinai's second collaborative record, My Best Human Face. With its soft synthesiser sound and slow, methodical rhythm section, the track seems to position itself as a prog-infused take on '80s pop, with Spencer Krug taking on the frontman role with an aplomb we haven't seen in years. His voice croons over the instrumental and a chorus of female voices; starting softly, before reaching for a powerful, euphoric ending. The synthesiser marks out a waltz and Risto Joenessu's droning guitar ascends to an atmospheric roar.

This slow burning introduction is followed by the band's most outwardly rock moment, as the aptly titled 'Risto's Riff' strikes a motorik groove over which Krug's voice soars. The album's shortest, and most straightforward track leaves a lasting impression, with a pummelling 4/4 rhythm section and exhilarating guitar licks that seem a world away from the more meditative melodies Sinai are known for. With its sing-along chorus and infectious rhythm, 'Risto's Riff' is pure unadulterated fun.

It seems strange to talk in such terms about Moonface & Siinai - something Joenessu acknowledged when he described his initial expectation for their collaboration as being "some kind of avant-garde thing". Yet here we are with a record that not only features satisfying rock grooves, but also chorus hooks.

Almost every track has a handful of memorable moments, from the uproarious yell of "There's nothing punk about them" on 'They Call Themselves Old Punks', to 'Prairie Boy's hypnotic palm-muted riff. This is a record in which two talented acts come together and make something that isn't just impressive artistically, but supremely enjoyable to boot.

The album really excels in its longer tracks, which rather than meander, work themselves into an infectious groove you wish would never end. Guitars chug as synthesisers chart falling arpeggios on 'They Call Themselves Old Punks' whilst on the album's explosive finale, 'The Queen of Both Light and Darkness', organs and choral vocals return to give the song a satisfying sway - which is blasted apart by a cataclysm of guitars, percussion and synths. It's bombastic but that's to its favour. It's an album-closer of stadium-rock proportions and better yet, the band simply allow themselves to have fun with the concept.

'City Wrecker', arguably the record's centrepiece, reveals the core reason for the album's sense of musical exuberance. Opening with the band jamming and Krug attempting to wrangle the other players into recording, it captures the energy of those recording sessions, which has carried through to the record. 'City Wrecker' makes clear this record was recorded live to the floor with the seamless transition from jamming to recording showcasing not just the talent, but the harmony of the band.

And yet there's a lie here as well, because whilst the instrumental of 'City Wrecker' was recorded first, the version which graces 2014's City Wrecker EP (and was recorded after the Moonface & Siinai sessions) is the original iteration of the song. Whilst the instrumentals were recorded with the whole band in one room playing together, Krug's vocals were recorded well over a year later. When this version of 'City Wrecker' was recorded, it wasn't 'City Wrecker' at all. It was only as Krug wrote and recorded the lyrics that he decided to create a re-imagining of his solo piece.

Again, it's evidence of the care with which the album has been produced, that Krug and the backing singer's voices fit so perfectly with the instrumentals. Krug's vocals have a roughness that fits the exhilarating melodies, whilst the instrumentals seem to have been given the opportunity to find their own sense of space and structure. Compared to Heartbreaking Bravery, My Best Human Face feels looser, more effortless and this makes for a more engaging experience throughout.