As the nights are fast drawing in, talk at ÜRHQ has ultimately started turning to who will be making our Albums Of The Year list this time around, and I'm left wondering "is that 2010 almost already over?" But lo and behold this did start me thinking about my own list and who might make the top spot, and currently climbing its way up to the summit faster than Spider-man up a twelve-story building is 'Blood/Candy', the sixth full-length studio album from Seattle masters of powerpop The Posies.

When people start bandying the term "cult" around with gay abandon when referring to music you can bet your bottom dollar they normally mean "inaccessible shite" that they think they are hip for supposedly liking. But if you were using that term to describe the powerpop genre then you really are at the opposite end of that spectrum as the genre, by and large, is crammed full of infectious music that anyone with half a brain should like. And that is just about what 'Blood/Candy' is all about, as the twelve tracks on offer here are simply powerpop perfection.

Recorded and mixed largely in Spain, but with stop offs in places like Ecuador, Canada and their hometown of Seattle, the twelve tracks contained within 'Blood /Candy' have the same joyous feeling of celebration about them that you used to find within the grooves of albums recorded at Abbey Road or Gold Star Studios.

Kicking off with the album in a truly off the wall style, you get a trio of songs all with guest appearances from the likes of ex Strangler Hugh Cornwell, Kay Hanley and Broken Social Scene's Lisa Lobsinger. Each one adding their own unique style to the tracks 'Plastic Paperbacks', 'The Glitter Prize' and 'Licences To Hide' respectively to bring some new and exciting flavours to the more established Posies brand of powerpop. In the album's lead single 'The Glitter Prize' the band have also penned perhaps their greatest four-minute pop song since their Geffen days.

But it simply doesn't stop there, as 'So Caroline', 'Take Care Of Yourself' and 'Cleopatra Street' all affectionately nod to the band's back catalogue whilst adding a B-movie grittiness that can only come with years of experience and being truly comfortable with what you're doing as artistes.

'For The Ashes' and 'Accidental Architecture' meanwhile truly bring that science fiction angle that Jon Auer recently coined to describe 'Blood/Candy' to life, the latter featuring what sounds like a comb and paper riff, but both having the charm of what Bowie or Queen might have done at their creative peaks to liven up an albums mid point and keep the listener guessing regarding exactly what might be next.

As 'Blood/Candy' enters its final third with 'She's Coming Down' and 'Notion 99' you're left thinking "Where the hell do these guys get these tunes from?" as they effortlessly take elements of Sixties pop and stir them up with that big Posies mixing stick. 'Holiday Hours' and 'Enewatak' meanwhile are the thrilling downhill musical sleigh ride to the album's close.

Jon Auer, Ken Stringfellow, Matt Harris and Darius Minwalla thank you for giving us 'Blood/Candy'. It is a true work of art, and a must buy for fans of great song writing.

My album of the year? Maybe. There's three months of 2010 to go yet. 

Powerpop album of year? Absolutely. This is peerless stuff.

http://www.myspace.com/theposies