With their 2015 full-length debut, Weird Little Birthday, London trio Happyness generated a fair amount of rightful praise on both sides of the Atlantic. They were appreciated for their take on the shambling musicianship, wry humor and sharp wit of bands like Yo La Tengo and Pavement, and the heartbreaking sentiments of bands like Weezer and even the pre-dadrock sound of Wilco tossed in for good measure. In a sense, it basically compressed the better parts of late-80s/early-'90s indie rock into a single record.

What made it especially appealing is how what sounded like a sloppy and occasionally tossed off album to some ears was in fact something much more sharp and focused than it appeared to be, making it all the more interesting to revisit. The only real drawback (if you could even call it one) was how on the nose some of its influences could be, something that hasn't completely changed with their second album Write In.

What has changed is that their influences occasionally span more than just a couple of decades. Sure, the jangly and melancholy dream-pop of 'Falling Down' and 'Anytime' recalls late 80s greats like Galaxie 500. But then you have lengthy jams like 'Uptrend/Style Raids' that in turn feel like a nod to Marquee Moo-era Television, while 'Through Windows' winds back through the 90s, touching on the piano balladry of Super Furry Animals.

So Happyness may be tearing their way through a (mostly) new set of sounds (for them), but they manage to retain plenty of the lackadaisical and sardonic spirit of their debut despite the moodier tone. Even if the reference points are just as easy to pin down, where Write In differs is that it finds them settling more comfortably into a wide range of sounds this time around.

'Bigger Glass Less Full' proves the band are still capable of cranking up the volume and turning out gleefully noisy jams albeit with a glossier exterior. The shimmering 'Victor Lazarro's Heart' might just be the prettiest song they have written to date.

Write In sees them continuing to demonstrate just how deceptively subtle their shifts in sound and approach can be, and the depth of their songcraft reveals itself over repeated listens in ways it never did before. Add to that the fact this was a completely self-produced effort on a modest budget that sounds at once pristine and just as shambolic as their debut - only with even more hooks - and it becomes all the more impressive.