For some Felt fans, Lawrence’s subsequent career – chintzy glam with Denim; bubblegum trash with Go-Kart Mozart and Mozart Estate – is a betrayal of the man’s capacities. They’ve got it wrong, of course, but you can understand the disappointment of a fanbase that was seduced by the regal indie dream-pop of Felt’s “Primitive Painters” when confronted with the hyper-plasticity of a song like “Come On You Lot.” But Lawrence’s genius is his ability to turn the junk of bubblegum into canny, ear-naggingly catchy songs – of sorts – that allegorise both his career dreams (he’s never become the pop star he so desperately wanted to be), the drudgery of everyday life, and the sheer weirdness of popular culture’s history.