The Indelicates are also known for their innovative and progressive marketing techniques, including crowdfunding their fourth album before Kickstarter had a UK presence, "Super Special Editions", and virtual reality and 360-degree music videos.

While Simon and Julia have been ever-present, the Indelicates have featured several line-ups since their formation, sometimes with a rotating roster of backing musicians for live shows, which they continue to perform in the UK and Europe.

[5] Hancox had called the first version of the song the Indelicates' "most exciting ... a cynical, disaffected, lo-fi anthem",[9] and "We Hate the Kids" received positive reviews in NME and Rolling Stone.

In Germany they headlined several times and played support for Art Brut,[22] whose lead singer, Eddie Argos, had previously called the Indelicates his favourite band.

[23] By mid-year, the Indelicates had left Sad Gnome to join another independent label, Weekender Records,[24] and in July released "Julia, We Don't Live in the 60s" as a CD single and 7" vinyl.

"[2] Several industry publications, including Rolling Stone, had predicted mainstream success for the Indelicates for several years,[8][27] and though the band had achieved popularity in the blogosphere, by the start of 2008 a breakout hit had eluded them.

Produced by Brian O'Shaughnessy at Bark Studio, and issued by Weekender on CD and as a 12" vinyl LP, the album featured 14 tracks and included new and previously released material.

They went on to say that when their label ran out of money in December 2008, the removal of the album from sale prevented its chances of reaching a larger audience at Christmas after it appeared on some online best-of-the-year lists.

"[46] In early 2009, Weekender had said that it intended to move away from record production into artist management,[47] and unsure if the label would exercise its contractual right to a second album, the Indelicates asked to be released from their contract.

[42] Writing for PopMatters, Maria Schurr said of the album's style that while it represented a continuation of American Demo's "lyrical attacks on society coated over with giddy indie pop hooks" Songs for Swinging Lovers "has been infused with a swish of cabaret."

She later said that it sounded like "[a] collaboration between The Mekons, The Wedding Present, Carter USM, and Luke Haines, with a song co-written by Jacques Brel following a really awesome séance".

[56] Schurr said that the album was "dazzlingly close to perfection" and though its first half was its strongest, the second was "more convincing of the Indelicates' greatness than ten years' worth of 'Next Big Thing' issues of NME".

[51] In Digital Spy Mayer Nissim wrote that Songs for Swinging Lovers lacked "a bit of the coherence and gloss 'n' polish" of American Demo, but that it was "an assured, aggressive follow-up".

Nissim singled out "Roses" as the album's standout and "Sympathy for the Devil" as an "odd misstep", concluding that while the Indelicates were doing nothing new musically, Songs for Swinging Lovers showed "that it really is what you do with it that counts".

[nb 5][58] In early 2010 the Indelicates became outspoken critics of the controversial Digital Economy Act 2010, which allowed the blocking of sites used or even likely to be used for activities that involved copyright infringement.

[59][60] Having encouraged fans to share songs via their blogs and on social media,[61] the band said that filesharing had "directly benefited" them,[60] and that the new law was "fuzzy enough to include our artist-rewarding, innovative-business-model-y company aiming to grow the digital economy.

[61] After Parliament approved the bill and it became an Act of law, Simon hit out at the bands who had stayed silent: "All the musicians who view the internet as nothing more than a funnel for their sleazy hype deserve their share of the blame.

[58][63] Koresh also features guest vocals from Jim Bob of Carter USM, Mikey Georgeson[nb 6] of David Devant and his Spirit Wife, Philip Jeays and Lily Rae, plus members of Luxembourg, The Boyfriends and Keith Top of the Pops & His Minor UK Indie Celebrity All-Star Backing Band.

[65] To promote the album ahead of its release, the band made available preview track "Something's Goin' Down in Waco",[66] and created a video game, Super David Koresh Attack.

[56] At PopMatters, Maria Schurr called David Koresh Superstar the Indelicates' "most ambitious undertaking to date" and that they had "done a stunning job at making history intriguing".

Schurr said that the album's high point was "Something's Goin' Down in Waco", which "gives a vivid illustration of the rapidly escalating events" and concluded that while Koresh "peaks and dives" and may "drag a bit", it was worth persevering with for the closing track, a "blistering rendition" of the folk song "John the Revelator".

[56] In Christian news magazine World, Arsenio Orteza wrote that the album "[gets] to the core of cult and conspiracy-theory mentality" and that the songs "A Single Thrown Grenade" and "I Don't Care If It's True" "articulate megalomania and its discontents at their most sadly poignant."

[69] God Is in the TV praised the first two tracks ("Bitterness is the Appropriate Response" and "Pubes") as having "more muscle" and as a departure from the band's usual style, but lamented that the rest of the album did not follow suit.

[77] After analysing the band's website traffic, Simon claimed that larger numbers of visitors had come from "obvious places" such as London and New York, but the remainder were single-person hits from "pretty much every city I've ever heard of".

"[68] Simon and Julia had also gathered an almost entirely new backing line-up for live shows, including Benny Lewis (drums) and Nick Kos (bass), who would remain with the band thereafter.

"[81][82] Maria Schurr of PopMatters, while praising the innovative marketing, said that the song "deserves repeat plays in its own right, with the sort of vital generational commentary that so many current bands fail to provide".

[80] Elevator Music was officially released on 13 October 2015, though fans who pre-ordered the album could receive a digital copy early, and the download-only version could be bought from August 2015.

[68] Simon reluctantly called Elevator Music a concept album (owing to an aversion for the term after using it to describe David Koresh Superstar), saying it was about "what happens when the Internet achieves consciousness".

Recording the album, Simon and Julia were joined by band members Alastair Clayton, Nick Kos and Benny Lewis, plus violinist Louisa Wood.

Recorded at Dean Street Studios by Keith TOTP, the release featured Simon, Julia and Alastair from the band, plus Mary Hampton, Chris Hodges, Sarah Pinkney, Laurie Penny and Michael Parker.