For being called The Wake and having music released by the Factory label, the unadventurous would doubtless be given the impression that the group would ply their trade in bleak, tuneless sub-post punk. Fortunately, the truth is very different as The Wake - although no stranger to the term sadness (their 'Melancholy Man' is their vocalist in a nutshell) - used light populist touches whose airy melodies have worn extremely well in passing decades. Full of space and hope, 'Here Comes Everybody' was a major step forward from their promising but patchy debut. It builds on the excellence of their Peel Sessions work and original singles, taking notes from the best moments of Section 25, The Stockholm Monsters and - of course - New Order, to construct a classy, airy, electronic album. The delivery from frontman Caesar is both haunting and calming whilst Carolyn Allen excelled in warm and expansive keyboard play, from the longing of 'O Pamela' to the classic understatement of 'Here Comes Everybody' with barely a lost moment in between. Picking through the eight extra tracks, the more pop-centric 'Plastic Flowers' is indicative of why the group signed to the Sarah Records label, home of The Field Mice whereas 'Furious Sea' is an absolute gem; Ceasar's ghostly whisper over a repeated guitar refrain and some quality experimental keyboard work. Few bands learn from others quite as well as this.