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Source	Rating
Metacritic	73/100
Review scores
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Allmusic
Consequence of Sound	67/100
Drowned in Sound
The Guardian
The Line of Best Fit
Mojo
New Musical Express
Pitchfork	74/100
Q
The Skinny
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Under the Radar

Welcome Back To Milk is the second studio album by Beth Jeans Houghton and the first for her as Du Blonde, to be released in the United Kingdom on 18 May 2015 (and on May 19 in the United States), by Mute Records. The album was written, composed, and performed by Du Blonde and produced by Bad Seed and Grinderman member Jim Sclavunos.

After Beth Jeans Houghton's debut album Yours Truly, Cellophane Nose's release in 2012, she and the band toured extensively, performed at high-profile musical events, including Glastonbury, The Great Escape, Latitude and Bestival. In November 2012, midway through recording the follow-up in Los Angeles with The Hooves of Destiny, the crisis broke out. "When I listened back to what we’d recorded, I didn't see any of myself in it… None of it was angry, none of it was sad. I wasn't being true to myself," the singer said, speaking to The Observer. She broke up the band and ditched her name, opting for a different sound, described as "spiky, propulsive" and "exhilarating." This drastic move had been preceded by a breakdown she had in the summer of 2012 in a Zurich hotel room, during a European tour. "I felt my head go. It was the scariest thing. It felt like my brain was melting," Houghton remembered. After several months of dieting and meditating she completely recovered.

"This is a new sound, a new project. Du Blonde is a new incarnation and one step closer to assuming my ultimate form. Having freed myself from the rusty and bloody shackles of Beth Jeans Houghton – both musically and spiritually – I felt it only right to step forth under a new name and let the rituals commence," Houghton stated, explaining the moniker conversion. Asked what has prevented her from playing louder on Yours Truly, Cellophane Nose, Du Blonde said: "I think a lot of it had to do with the way I learnt how to write and play guitar. I taught myself, and therefore had no concept of time signatures and keys, so often my songs would turn out pretty experimental because, well, they were experiments… Due to the complex or odd nature of the songs I was writing, putting distortion on things just didn’t work. To make the best of a raw, overdriven sound, I needed to keep it simple, which is only something I learned once I had a better grasp on chord progressions and rhythms."

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