Denmark's Efterklang are a band of seemingly constant reinvention. On paper they're a meagre four piece band; on stage their number sprawls as the likes of Peter Broderick, Anna Brønsted (Our Broken Garden) and a myriad others to help fill rooms with swathes of strings, piano and euphoric choral voices. Their first album, Tripper, was a quiet, brooding piece of work characterised by its use of minimal, glitchy programming, breathy vocals and sweeping arrangements. Favourites like 'Step Aside' still get a live airing today. 2007 saw a step-change for the band on the release of Parades. Its extensive use of vocal tapestries, arrangements heavy on strings and brass, and standard song structure entirely ignored it was an accomplished and spiralling album which saw the glitchy programming that served as a backbone to their debut play less of a focal point. After an extensive touring schedule, on which the band took Parades on the road with a symphony orchestra, they're back with Magic Chairs -- and yes, they've changed things up again. Parades was arguably the album which launched Efterklang into a wider consciousness; it was my first contact with the band and, like many others I'm sure, it's the album which defines the band's sound. On investigating their back catalogue it's easy to see where they've come from (especially as Tripper is a pheonominal record) but, with our expectations so rooted in Parades, changing the formula could loose the band fans. However, I've always got the impression that Efterklang make music for themselves, it's just lucky for them that we all like it so much.Magic Chairs sees the band take their existing formula and give it what some would (and I'm sure will) call a pop slant. Everything on the album feels more structured, more accessible than the bands previous material -- all the while still retaining a sound which is definitely Efterklang. As you would expect, every note, beat, pluck bow and strike of this record sounds like it's been carefully considered. The arrangements and attention to the importance of dynamic is spot on. There is no showmanship to be found; no one is fighting for virtuoso glory.For all those who may bemoan the band's leaning to a more accessible sound there's no denying that, as ever, we find Efterklang at their most inventive. 'Raincoats' is built on a rhythm of handclaps, layered vocals and simple guitar chords, 'Full Moon' is born of bold, aggressive strings, and, from a programmed beat, 'Alike' builds with layers of soft synths, sparkling guitar lines and dancing brass -- all finished of with an optimistic, almost euphoric vocal performance "Ooooh, and it made us feel alright."If Efterklang were ever write a song to launch them onto the playlists of mainstream radio then it is, without doubt, 'The Soft Beating'. From its simple infancy of slack guitar the track, built of three parts, is possibly one of the best things the band have written to date. As Casper Clausen starts to pine "Over the top 'till it all comes down," which finds the reply of "I can imagine it, I can imagine it," you know that this thing is going break. When it does it's a cacophony of synths, cymbals and, without doubt, a lot of people in the audience with both arms aloft. If the BBC ever hear this expect to find it over all sporting montages for the next 18 months.Although on its first listen Magic Chairs might worry anyone already familiar with Efterklang, by the time it's reached its conclusion you'll be a convert, safe in the knowledge that they've done it once again. This is an album of magnificent achivement and if it's not featuring on the Best Of The Year lists it'll have been quite the year.

Buy the album on Amazon | [itunes link="http://itunes.apple.com/gb/artist/efterklang/id45467996?uo=4" title="Efterklang" text="iTunes"]