Few figures from British post-punk have taken a stranger path than Martin Bramah. A founding presence in The Fall and later Blue Orchids, his early work helped define a movement before decades of intermittent activity kept his reputation more mythic than visible. That long arc makes the emergence of HOUSE Of ALL feel quietly remarkable. Four albums in, the group has become less about legacy and more about collective strength. Built around Bramah but driven by a formidable line-up of players, HOUSE Of ALL operates as a true band: multiple distinctive guitar voices, fearless rhythm section work, and a shared instinct for tension, momentum and release. Each release has edged further from their pasts without disowning them. Inklings marks a shift in process. Rather than assembling songs from loose improvisations, the band rehearsed extensively, shaping parts with intention and clarity. The result is focused yet expansive, stately without stiffness, and confident in its sense of purpose. It’s a record that sounds earned — the work of musicians who’ve survived, adapted and kept moving forward.