Where to start? SILVERY, the ill-fitting five-piece whose debut album ‘Thunder And Excelsior’ was a minor work of crazed genius, are back with a second LP which really ups the maverick ante.

It sounds like a ‘70s art-rock circus (it even begs to be played in a Big Top, rather than, bless them, opening for us at our Bull & Gate gig last month).

This is not, I hasten to add, a “look at us, we’re crazzzzeeeee” type of craziness. In fact in these days of witless celebrity and coalition uncertainty, Silvery are probably, comparatively sane. It’s TRUE! There is a method in their madness.

‘Railway Architecture’ is for anyone who ever liked The Cardiacs in their prime, or is up for an awkward waltz through the works of British Sea Power, post-hit XTC or upside down Roxy Music. And that’s just (another) start.

The mangled influences of punk, glam and psychedelia all make an appearance.

For once however – and in stark contrast to the current trend for copyists – Silvery pull through this record sounding essentially alone and new.

They have created a sort of Victorian Pop full of pomp and skulduggery. And here’s the revelation: songs like ‘The Quaire Fellow’ and ‘A Deconstruction Of Roles’ are almost a prequel to Ray Davies and definitely a pre-prequel to ‘Modern Life Is Rubbish’.

Totalling 14 tracks in all – only three of which last more than two and a half minutes – and also featuring the brilliantly titled ‘Will Self (Or,The Man Who Wasn’t There)’ and better still the jaunty, schizophrenic ‘Two Halves Of The Same Boy’, here you have final proof that you can ‘dance about Architecture.’

Or at least nod your head to it.

More Silvery here