he man responsible for The Aislers Set has been arrested for murdering a B-movie star. This has nothing to do with their new and third album, but there’s no denying the fact that if it weren’t for Phil Spector, The Aislers Set might sound like Tatu, Dixie Chicks or even worse, The Cheeky Girls. Actually, that’s a load of rubbish, but they sure did take notes while listening to acts like The Ronettes and The Crystals, and their wonderful production has always been as on the mark as it was 30 plus years ago when Spector was creating it.

How I Learned To Write Backwards isn’t as good as 2000's The Last Match, yet it isn’t far behind. It’s another fine batch of eloquent, classic sounding pop songs, with a little bit of mustard added to it as well. After touring with such acts as Belle & Sebastian and Black Dice (talk about polar opposites) last year, The Aislers Set have found themselves in a different place. There seems to be a lot more mixed into the band’s songwriting formula this time around, exploring more of the band’s influences and shaking up the foundations. “Was Either Easier” begins like a tame E.S.G. track—very echoed drums, a slight groove in the bassline and a distant cow bell. By the time it’s done, it sounds like a hit of the Supremes, but the transformation is done seamlessly. “The Train #2" seems to go back to the old days of Henry’s Dress, using spiky overdrive and an attitude that screams Kleenex, yet in the sweetest way possible. It’s the loudest they’ve been to date, and a welcome addition to their oeuvre.

Some other slight changes aren’t as easy to adjust to. Amy Linton’s angelic voice still sounds as sweet as ever, but a crumb of sinister darkness has been added. Okay, the words “sinister” and “darkness” in the world of The Aislers Set may be more like getting a yellow lollipop instead of a red one, there are some very gleeful moments captured on record. But it’s not as if Linton has always written about sunshine and bunny rabbits, in fact as soon as “Sara’s Song” begins, it shows that the band can be most melancholic if they want. The same with “Unfinished Paintings”. Wyatt Cusick’s voice, which brought a lovely contrast to their sound on previous records, is strangely absent. Yes, he sounded exactly like Stuart from Belle & Sebastian when he sang his touching acoustic numbers, but it was always fun to anticipate when he would be mixed into the batch with Linton’s songs.

How I Learned To Write Backwards is a record that gets better the more you listen to it. Though there may be some adjustments needed to be made by the listener, it shouldn’t take too long if you’re a true fan. And now, since starting this review, it might be on par with The Last Match, maybe even better. You should probably try and judge that for yourself, I could be days making such a decision.