U.K. punks followed the same lines as their U.S. contemporaries of the DIY scene, melding soaring melodicism with upbeat tempos and raw, guitar-heavy production. A split release with punk crooners and tours with anthemic rocker were great places for their hook-heavy songs of heartbreak and understanding to grow. Third album finds fully developed into a well-oiled machine of angsty lyricism and intricate guitar pop, sped up to a buzzing pitch. High-energy tunes that hold melancholic lyrical narratives are still the order of the day for the band, but on , both sound more refined than on previous albums. Opening track "Heart Is Healing" offers up bright, wistful vocal harmonies and a jittery tempo, but tempers vocal hooks with a spindly guitar lead that would sound at home in a punked-up version of . Intricate guitar arrangements shine throughout the album. "Mini Was a Preteen Arsonist" builds a dense wall of guitars, including gritty overdriven tones and layers of acoustic brightness. The rhythms are tight and unbusy, relying on speed more than showiness to offer support to blazing guitar solos and emphatic vocals. Pop is at the core of 's unique brand of songwriting, with the title track sounding parts 's carefree bounce, parts ' restless velocity. Things get really exciting when the band is playing almost too fast to contain their pop impulses. The first half of "Brutalism by the River (Arrhythmia)" speeds by so quickly it's hard to catch all the twisting hooks and interlocking melodies the first time around. 's confessional and lovelorn themes fit perfectly in their revved-up pop framework. is a crystal-clear presentation of their powers, making equal space for the group's enduring stories of heartsickness, well-crafted pop structures, and blazing guitar work. ~ Fred Thomas