They have, after all, had their fair share of difficult dealings. Jerry Fuchs, one-time drummer and regular collaborator, came to a sudden death, falling through an elevator shaft in Brooklyn. A subsequent disbanding wouldn’t have come as a great surprise. But Nic Offer and co. chose instead to head to Berlin, immersing themselves in a darker club scene than previously experienced, and putting the unique feel of the city’s nightlife on record.

Now, a quick flight to Berlin can sometimes feel like an easy move. Not so long ago the-now-no-more London group The Rakes chose to dismiss their city’s music scene as virtually non-existent, before taking camp in a Berlin studio and recording Klang! Whatever impact the city may have had on the band, results didn’t rub off or transpire to the listener. On the other hand there’s Liars, whose 2006 tour de force Drum’s Not Dead was evidently half Liars, half Berlin, re-focusing the band to such an extent that it most likely inspired the recent dirge of acts in flocking to Europe, expecting similar results.

Strange Weather, Isn’t It? takes little from the feel-good, full-on sonic experience of Myth Takes. The dark atmospherics – crafted within Berlin – and subtle recording techniques present the band turning a new leaf and altering their songwriting craft. Where the previous record hits you with a wall of noise, the latest effort is more withdrawn, to both its advantage and disadvantage…

Several listens on, you’ll still find yourself discovering minor intricacies of songs that didn’t emerge beforehand. Strange Weather… is that kind of record; taking pride in devilishly branding itself as an art piece instead of a collection of songs and revelling in the studio experience. Lead single ‘Am/Fm”s melody isn’t the most enchanting, nor is it the catchiest of songs, but repeated listening leads to an appreciation of the finer details; the restless, diverse bass line; the growling, warped synths, ever-present throughout.

Much of what follows is similarly-inclined and consequently, there’s little in the way of a stand-out track or a centrepiece. ‘The Most Certain Sure’ comes closest, its funk-disco feel and chant of “It’s a good day/ it’s a good day” going against the fundamental, lurid quality that much of the record defines itself with. Perhaps the influence of Germany’s largest, most diverse city isn’t as apparent as it could have been. And for some reason or another, it’s had its part in removing the confidence and zeal from previous works. ‘Steady As The Sidewalk Cracks’ on paper, is a beautiful blend of the finer moments on ‘Myth Takes’; a poignant chorus; a saxophone solo; haunting build-up work. But put simply, it doesn’t have the same impact. It requires the raucous feel to the live shows and the shamelessness of the last record, but both go amiss.

The club scene shows its presence in the form of sampled house vocals in ‘Wannagain Wannagain’ and the appropriately minimal ‘Hollow’. Saxophone parts also assist in giving the record a unique brand. But if the press releases had chosen not to refer to the move to Berlin, it’s questionable as to whether anybody would identity such a shift in sound. The end product is something uninspired, lacking in the immodesty and ruthlessness that first exposed the band as one of a kind.