Have a Nice Life don’t do things by halves. In fact, their critically acclaimed 2008 debut Deathconciousness was a staggeringly ambitious double album with a repress that came equipped with a meaty 70 page book of lore, a move which further delighted the conceptual revellers who had already elevated the record into something of a cult classic.

The feathers that make up the fletching on Peace Arrow’s arrow are manifold – dainty little artifacts that are fragile in isolation but potent by their powers combined. The fleeting acoustic guitar snips that enter and exit your field of vision like a moth drunk on moonlight, the jaw-snapping-shut drumstick thwacks, the distant, looming tomtom thumps and the menagerie of bleats, croaks and peeps that steer it interlock like the two sides of a zip.

Whether it’s the 60s diner jukebox or the 90s garage rock malaise that draws you in, it’s the cordiality cradling the two that yields such a fruitful, identifiable final product. Everyone will see a little bit of themselves in the wolf-masked girl that graces its cover. You’ve got to put on a brave face sometimes.

Let’s not get hung up on the ‘Britishness’ of the music of the Young Knives. While it’s certainly true that their debut full-length Voices of Animals and Men supported itself with its distinctly British-sounding oddities – yelped lines like “You were screaming at your mum and I was punching your dad!” and acute, awkward instrument playing – their talents extend beyond poking fun at the mildewed mundaneness of suburban British life.

Nicolas Jaar and Dave Harrington have created a sound that is above all else natural, to the point of defying the unworldly, manufactured fabric of electronic music. The minute attention they have afforded to the gaps and cavities is remindful of the everyday ambience so often lost in transmission.