The Radio Dept. had been built around that closeness.  was made just as it was becoming more complicated. Duncanson had moved away, recording now required planning and, when the album finally came out, some of the reaction confirmed what they had been worrying about. “It had some good reviews, but what we had feared became true in a way,” Duncanson recalls. “There were a lot of lukewarm reviews and people not liking it. We'd been so spoiled with good reviews, so it was a bit tough to take.”

That was when Carlberg told him  was really his album. “I was hurt because we couldn't face the music as a band, as a unit, in solidarity,” he says. “Practically, I guess, it was like my fault that it sounded the way it did.”

Soon enough, they were both blaming each other. They eventually moved on. The Radio Dept.'s third album, Clinging to a Scheme, arrived four years later. “We kind of left that album,” Duncanson says of . “It wasn't a good feeling really between us and our feelings about the album. At least that's what I think he thinks too. But then we made Clinging afterwards and became better friends again with that album.”

, meanwhile, stayed where they had left it - but its songs didn't. “Sleeping In” has travelled particularly far. Its recent streaming numbers surprised Duncanson. Its origins are darker: “There was a kid in my class when I was, I guess, 17 or 18,” Duncanson says. “He killed himself, and that had been in my mind for years.”

Duncanson became uncomfortable with the way people would sometimes describe somebody who had taken their own life as selfish. “You don't know anything really,” he says. “You don't know what made them do what they did.” With “Sleeping In”, he tried to push against that judgement: “I tried to make an opposite claim. I don't know if it worked, but that was the idea at least, to make it heroic almost, just to counter what you usually hear.”

Now, twenty years after its release, it's helping introduce people to  for the first time. Duncanson's own relationship with the album has changed more slowly. “It's nice when some time has passed and you can listen to it differently,” he says. “That time has to pass, I guess, before you can. Or at least that's the case for me.”

He thinks he last listened to  properly around a year ago. “It sounded better to me than I remembered it," he tells me. Then he laughs at himself: “But maybe that's because people are telling us that it's good. We're insecure like everyone. So of course it's nice when people kind of get what we were trying for.”

What he hears now is an album that holds together more than he realised at the time. “I think perhaps that it's pretty consistent,” he adds. “We thought it was too pop to release almost for a while because we'd been so anti-rock, and then we thought it became too pop instead. But it has a feel to it. It's not that it's one flavour all the way through, but they kind of sew together. They work together, the songs, sound-wise and how they feel.”

There are still things Duncanson would change: “A ton of stuff,” he says. “But that's always going to be the case.”