Niki + the Dove's second album is out. Even for an avid fan of underground hits such as 'The Drummer', this is a surprising statement. The truth is, Everybody's Heart Is Broken Now has been plagued with minimal support from UK publications and a home country only release after the band departed from Sub Pop.

For many devout fans of Malin Dahlström and Gustaf Karlöf's debut album, this LP is one of the most anticipated of 2016 after a near silent four-year break since the release of 'Instinct'. A record that is considered one of the pop debuts of the 21st century, spawning a string of global hits including 'DJ, Ease My Mind' and 'Tomorrow', albeit only in an alternate universe.

They return with the same colour and palette, however, there's a different dial selected on the synth-pad. The riffs are smoother, the bass is deeper and there are reverberated claps a-plenty. Niki + the Dove's music was similar to many Scandinavian contemporaries, firmly fixed in the past designed to fill a dance floor thirty years out of date in the finest possible way. The album opens with 'You Stole My Heart Away' and 'So Much It Hurts', two tracks you can envisage Bowie and Grace Jones both gyrating and slow dancing to in a New York basement club in 1982.

Demonstrating R&B sensibilities 'Play It On My Radio' pays homage to disco royalty Donna Summer with a Prince vocal reverb, and a slow melody nowhere near as immediate as its 2012 predecessors yet altogether far more emerging. Stevie Nicks is a very apparent influence on this record, 'Scar For Love' seemingly plucked directly from the depths of 'Rock A Little'. The opening line to 'Lost Ub', "well I'm back, back to the house," seems more than a subtle nod to "well I'm back, to the velvet" of 'Gypsy'. Intelligent nuances such as this offer understanding as to why this album was so long in the waiting.

The fans waiting four years for additional multiverse chart bangers are equally catered to in the eschewed 'Pretty Babies', where credit is due to Karlöf who binds Malin's ludicrous narrative into a majestic piece of pop. 'You Want The Sun' is the most accessible track in this twelve song suite, more Prince-like guitars offering a dose of funk and Dahlström's auto-tuned vocal beckoning us to the Club Tropicana.

It is fair to say there are some large and noticeable comparisons between Niki + the Dove's first two albums. Here there is less pop, more disco, less experimentation, more thought, less anthem, more groove and unjustly more quality, less attention.