Liverpool Sound and Vision Rating 8.5/10

What is The Greatest Love, one we can express freely, one that shocks us and catches us unawares, one from our formative years, or the one the one that perhaps saves us when we believe we are beyond help, beyond rescue, and out of the reach of redemption?

The chance of love is slim, rarely do we get a chance to experience it properly, let alone a second time that arguably makes us question the time before, but with art, with the artist, we can find our love acting in spectacular ways, never diminishing, but often being unthought of for a time and yet filling the heart immediately upon its return and with no gaping chasm for the listener or observer to fall into, this is a truth of a greatest love, it comes with no boundary, no entitlement, no sense of duty, it is just a moment that your existence understands the need for continual joy and worshiping the sense in your own soul.

Time, a precursor, an introduction to love, is all we have initially, and when we are shown it sparingly, when we allow the feeling to progress naturally, that is when we find the appreciation, and as London Grammar return for the fourth studio album, The Greatest Love, is one keenly felt as arguably the atmosphere emanating from the recording is one of high impression, a siren call to the lonely, a typhoon of discretion like stance to the undervalued and demonstrative, and as track such as the opener of House, the quality of Fakest Bitch, Ordinary Life, Kind Of Man, and Rescue subtly conjure vocal magic and captivating musical landscapes brought to life as a painter reveals the subject with layers and imagination, so the dance of charm and enchantment begins, a ballet of emotions cascading in harmony as only London Grammar can provide.

A tremendous piece of work from the Nottingham formed band, the return that has been long awaited is one of triumph and pleasure and shows the best love is always worth waiting for.

Ian D. Hall