Dry Cleaning’s third studio album, produced by Cate Le Bon.

Secret Love is the finest expression yet of the profound friendships that created Dry Cleaning, between frontperson Florence Shaw, guitarist Tom Dowse, drummer Nick Buxton and bassist Lewis Maynard. Here, the south London four-piece take their place in rock’s avant garde, catalysing the Reaganite paranoia of early 80s US punk and hardcore with the dry strut of Keith Richards, stoner rock, dystopian degradation, playful no wave and pastoral fingerpicking, while Florence’s delivery, meticulously calibrated to her bandmates’ soundscapes, asserts her in a lineage of spoken-word artists stretching from Laurie Anderson to Life Without Buildings’ Sue Tompkins.

The follow-up to Stumpwork started life in Peckham rehearsal spaces, all four members writing, playing and responding to each other in the room: in Dry Cleaning, music and lyrics form an inseparable, generative whole. Secret Love evolved through affirming sessions at Jeff Tweedy’s Chicago studio the Loft and explosive ones with Gilla Band’s Alan Duggan and Daniel Fox at Sonic Studios in Dublin, taking advantage of the sonic particulars of each space, and finally with Cate Le Bon at Black Box in the Loire Valley. After interviewing various potential producers, they picked Cate – an esteemed solo artist who has also made albums for Deerhunter, Devendra Banhart, Wilco and Horsegirl – for her unabashed positivity and openness. “Being in a room with them and hearing that vitality and life force that exists between them all, it’s such a unique expression,” she says.

Trust is Secret Love’s guiding theme, as signified by compulsively catchy ‘Hit My Head All Day’ which opens the album. Powered by pistons of breathy synths and cresting arcs of guitar, Florence’s signature mix of absurdism and sensitivity, “The song is about manipulation of the body and mind. The lyrics were initially inspired by the use of misinformation on social media by the far right. There are powerful people that seek to influence our behaviour for their own gain; to buy certain things, to vote a certain way. I find it hard to read people’s intentions and decide who to trust, even in everyday life. It’s easy to fall under the influence of a sinister stranger who seems like a friend.

We took a playful approach to the song. At one point it had harmonica on it instead of a vocal. At the demo stage we were inspired by There’s a Riot Goin’ On by Sly and the Family Stone.”