London Grammar are artists of a fine-drawn intelligence. It's been four years since debut If You Wait was thriving in praise and acclaim - and rightly so; the band's production and humility captured the souls of critics and fans alike. I think the thing that is so enchanting with this trio is how unassuming they pose. They are the truest core of themselves, their silence has spoken volumes since 2013. They take time, they create and when it's ready they return, in the purest and most dignified way they know how. We just knew that follow up music would welcome us all; "where have you been?, I've missed you, but I knew you'd return and I knew you would be beautiful."

'Rooting For You' opens the record majestically, as if the fog has lifted; Hannah Reid's haunting vocal is so alive, it's almost surreal. This was the first taste of new music we were to hear after years of patient waiting and it is still as much a wide-eyed symphony as we would of expected; soulfully open and from above, or from beyond - however we want to envisage it - is open for us to climb inside, curl up and nourish ourselves. It sets the tone for what it is to come; a huge museum of the heart and mind.

The number that follows is both liberating and direct. To feel deeply and to see 'The Bigger Picture' is painful, but the understanding is a blessing - a concept which is continually touched upon throughout. The conditions of existence, absence and presence pulsate through the sound waves, and although there are many similarities in tone and shape to the first record, it doesn't feel exhausted here in any way. In fact the production is intelligent, expansive and more defined than their debut. A growth which has been both peaceful and wild in defiance.

Lyrically, Reid manages to present as both tender and bold. Whether they be promises, confessions or declarations, she projects these in a capacity of exquisite elegance, and the coloured textures of guitars, keyboards and drums illustrate and intensify as she does. Her voice is always at the forefront of what is created, but the canvas is contoured with sonic precision heightening the songs' magnetism powerfully.

'Non Believer' grazes on the band's much loved subtle trip hop notions. The opening is fluidly confident, it glows and fuses and is the slickest and most sensual of all eleven tracks. "All that we are, all that we need/ They are different things," confesses Reid with conviction, as 'Hell To The Liars', much like the previously beloved 'Metal & Dust', presents with whirring sonics that progress into orchestral heights. Everything is in the right place, the trio are architects in building these gorgeous walls of sound, which resonate, enrich and nourish Reid's tone.

'Leave The War' provides the deepest essence of Reid's words. "Losing love all over again/ but it's my way till the end of time," she sing, signifying perhaps that if it has meaning true to us, then any suffering which comes from it is worth it, and it's this notion which cements the record as a spiritual leap. Truths are both whispered and screamed here, and the band's inward wonder of translation and craft in sharing this with us makes the record illuminatingly beautiful.

In a time where honesty and integrity feels fragmented and hard to come by, let this be redemption, as suggested by the closing track 'Truth Is A Beautiful Thing' - a love song. Exposed, with the frailty and space amongst gentle piano patters, we hear it; "To hold you heart, to hold your hand/ would be to me the greatest thing." A simple but devastatingly stunning vow, and I think this is what the whole record has managed to capture; that truth is indeed a beautiful thing, and it is explored with vulnerability and grace wholeheartedly.