Squeeze - The Knowledge (2LP) - 45RPM

Squeeze have always had a knack for turning everyday life into pop poetry, and The Knowledge proves they still carry that spark. Arriving in October 2017 as the band’s fifteenth studio album, it sits comfortably beside their classics without leaning on nostalgia. Glenn Tilbrook and Chris Difford write with the easy telepathy of old mates who still surprise each other, and the current lineup gives the songs a bright, lived-in feel rather than museum polish.

The opener, Innocence in Paradise, sets the tone with chiming guitars and a tune that feels like a stroll past terraced houses after a summer shower. Difford’s wry storytelling and Tilbrook’s melodic sense are perfectly balanced, so the song glides while the words bite. Patchouli follows with a whiff of memory and romance, the sort of Squeeze cut that sneaks up on you with one clever turn of phrase and then refuses to leave your head.

There is plenty of heart here, but also sharp commentary. A&E stands out, not only for its tenderness but for the Lewisham and Greenwich NHS Choir who lend the refrain an ache that lingers. It is an affectionate nod to a public institution that many in the UK hold close, and the arrangement makes space for the choir without turning the track into a novelty. You can feel the band’s empathy and the sense of place that has always grounded their best work.

Musically, The Knowledge is classic Squeeze terrain with a few fresh detours. Stephen Large’s keys dart and sparkle, giving the songs colour and mischief, while Simon Hanson’s drums keep things crisp and lightly swinging. Tilbrook’s guitar lines are clean and expressive, never flashy for the sake of it. The result is pop craft that values clarity, not bombast. Every Story is a great example, brisk and tuneful, the chorus opening up like a clear sky after days of rain.

Please Be Upstanding is playful and cheeky, proof that the band have not lost their sense of humour. The Ones, on the other hand, carries a gentle melancholy, the kind that creeps in during a late train ride when the city finally goes quiet. The title track ties the album’s threads together, looking at memory, learning, and how we carry what we have seen. Nothing here feels like a retread, yet the fingerprints are unmistakable. If you fell in love with Squeeze for Argybargy or East Side Story, you will recognise the melodic generosity and the humane eye.

The critics were on board. The Guardian gave The Knowledge a four star review, praising the songwriting and the band’s renewed purpose. That reception makes sense. Since the well received Cradle to the Grave in 2015, Squeeze have moved past the comeback narrative and into a steady late period where the songs do the talking. They are not trying to chase trends, just writing at a high level and letting the arrangements breathe.

If you are a crate digger, this is a rewarding one to find. The Knowledge vinyl has a natural warmth that suits the keyboards and harmonies, and the sequencing works a treat when you flip sides. I have seen copies turning up in the better Melbourne record store bins, and it is the sort of title that prompts a chat at the counter about favourite Difford and Tilbrook couplets. If you prefer to buy Squeeze records online, it also slots nicely beside other Squeeze albums on vinyl, making a tidy bridge between the early hits and their current wave of songwriting.

There is a reason people still chase Squeeze vinyl. Few bands balance craft and character so well. The Knowledge captures London streets, hospital corridors, first dates, and midlife reckonings, all with melodies that feel effortless. It rewards close listening but also works as a friendly companion while you cook dinner, which is a very Squeeze superpower. For listeners in search of something new to spin, especially in the vinyl records Australia scene, this is an easy recommendation. It is not just a late chapter entry. It is a reminder that Difford and Tilbrook remain one of pop’s great partnerships, still finding fresh stories in familiar places, and still writing choruses that make you want to lift the needle and play them again.