This four-track EP, culled from their forthcoming November release, finds the duo continuing their excavation of emotional complexity with characteristic intelligence. The title track borrows contemporary internet vernacular to explore romantic delusion – that perilous territory where devotion curdles into obsession. It's a bold choice that could have felt gimmicky, yet Giant Killers navigate it with the assurance of songwriters who understand that the human heart remains unchanged regardless of how we label its afflictions.
"Standing on a Ledge Again" and "Soho Story" maintain this unflinching examination of love's shadow side. Both tracks showcase the band's ability to marry accessibility with psychological insight, their melodies providing just enough sweetness to make the darker lyrical content palatable. The sonic palette remains rooted in their 90s foundations – those vintage synth textures and guitar interplay that critics have consistently praised for their timeless appeal – yet feels entirely contemporary.
The masterstroke arrives with closer "Hope Our Love Lives," featuring Andy Gibson (Gibbo) on lead vocals. Their former Sony labelmate and co-writing partner from those "heady days" brings a Glen Tilbrook-esque melodic sensibility that provides perfect counterbalance to the preceding tracks' introspection. Having toured extensively with Squeeze, Wortley and Brown clearly understand the power of this particular vocal approach, and Gibson's contribution transforms what could have been mere nostalgia into genuine emotional catharsis.
The band's own words prove illuminating: they seek to "walk a trapeze between the underbelly of love and the bright side," acknowledging that love – pop music's most exhausted subject – demands fresh perspective. Their approach avoids both cynicism and saccharine sentiment, instead offering the kind of emotional honesty that comes from artists who have genuinely lived through their material.
Production-wise, the EP benefits from the clarity that comes with complete creative control. Every element serves the songs rather than showcasing studio wizardry, allowing space for the subtle interplay between Wortley's vocals and Brown's instrumental contributions. The result feels both intimate and expansive, personal yet universal.
Giant Killers have crafted a coherent statement that works both as standalone listening and as a tantalising preview of November's full album. The irony that BBC Introducing now champions the same artists once courted by major labels speaks to both industry changes and the enduring quality of well-crafted songs.
**The Boy Who Went Delulu and Other Stories** confirms that some stories are worth the wait. After thirty years, Giant Killers have returned not as nostalgia merchants but as mature songwriters with something vital to say about the human condition. Highly recommended.