Bristol puts out good music and I know there are a few reviewers here who could attest to this. Or dispute it. Either way, Goodnight Lois is one of those bands that will fall into the good music segment on that British side of things. Immaculate Deception isn't the typical Brit-pop or Brit-punk that a lot of bands have favored recently nor does it stretch too much on an indie-tangent. What it does is cure a well-tapered alternative sound that fans of the '90s would appreciate.

Goodnight Lois play off their strengths that tow the line for listeners of Jimmy Eat World, Brand New and more so, Foo Fighters. These influences are prevalent as "Always For The Best" shows on the opener. The guitar styles of Jordan Shortman and Matt Hopwood are very Dave Grohl-ish. "Kings of Yesterday" adds a nick of variety to their sound with a distinguished collage of hard rock which fellow Brits in Funeral for a Friend and Moose Blood do so well. The interplay of guitars coupled with the laid-back delivery of Dan West's vocals to add a nice ebb and flow to the record.

They don't leave out that poppy-indie aura, and why would they? They're British. They love doing this. "Melanie" is a stellar example of just why they need to spin this more relaxed tempo to the listeners. If Seahaven's Kyle Soto met Fuel's Brett Scallions, you'd get Dan West. "Satellite" amps the pace up to further add steam to an already impressively structured album with an array of sounds. It's amazing just how they manage streamline an alternative vibe but with other musical branches that prominently rear their heads on the album.

A calmer tempo in "Runaway" emerges as an acoustic-layered ballad before bursting into their patented alternative drive. I like that they pattern these deluges of vulnerability into so much of the record. After a slow start, Immaculate Deception finishes strongly and hopefully, bigger things await Goodnight Lois. This album proves their mettle and it'll be nice to see them build on this foundation.