I don’t usually pay much attention to how artists describe themselves, but after a quick listen I sometimes like to see how they frame their sound. Here, it’s pitched as a blend of surf rock, garage grit, indie sheen and psych-pop shimmer. That all tracks for me, but I’d also throw in echoes of the Go-Go’s and Blondie, alongside some of their modern punk-leaning contemporaries. The result is loud, brash and completely in your face and I love it.

The album opens with "Hopelessly Devoted", not to be confused with the one from the Grease movie, though I suspect Sandra Dee’s brash, punky alter ego would be well into it. Out of the gate, it’s all electric guitar and drums, soon joined by vocals that border on sweet innocence. When the backing vocals kick in, though, they bring the brashness needed to really glue everything together.

It’s funny I mentioned a movie earlier, as the next track is "Motion Picture". This one feels a little more refined, but still upbeat. The lead vocals carry that same sweetness, but it’s the backing vocals that steal the show, like adolescents on helium, full of whoops and whoas, playful and infectious.

I hope the band don’t mind the comparison, but the next track has definite echoes of Panic Shack, particularly their track “Go Go Boots”, especially in the brash, call-and-response vocals that run throughout. I’m listening in a quiet house with headphones, but it makes me want to crank it on the stereo and wake everyone up, even if I’m not entirely sure the rest of the house would appreciate it, no matter how good it is. I also can't fail to mention the brief nod to Guns N' Roses, "Sweet Child O' Mine" at the end.

"Tan Lines" opens with a more conventional pop feel. It’s the kind of track made for driving with the windows down in summer. It may not have a great deal of substance, but it doesn’t need to, it’s a perfect slice of three minute pop.

Things take a more grungy turn with "Messing With The Man" and its distorted guitar opening, or so it seems. Once the song gets underway, though, it’s still that same in-your-face, infectious sound. The guitar adds a slightly different flavour, but it’s a subtle shift, though there’s a break about two thirds of the way in where things let rip a little.

The next track, "Working on My Way", again introduces a different little something, this time with the main vocals. I’m not sure if the band will hate me or agree, but there’s a strong hint of Gwen Stefani, which perhaps isn’t the best comparison. It’s a very strong female vocal, different from the rest of the tracks so far, giving the track itself a slightly different feel, even though it still shares much of the essence of the other songs.

And finally, a pause for breath. "Never Better" takes things down a notch or two, but still very much carries the same sound, just a little more contemplative than the other tracks. About two thirds of the way in, there’s an interesting, I’m guessing, guitar or synth wail that underpins the track and really made me prick up my ears. It then drops into a more spoken outro, accompanied by birdsong. Sounds odd, but when you listen to the track, you’ll get it.

That more contemplative sound continues with "Sniffin’ Around", which has a real throwback ’60s vibe. Think The Shangri-Las and their "Leader of the Pack", with that darker edge to the lyrics, delivered by a voice that somewhat belies the message.

And so we jump to "Magic Mushroom", though I think Mario might take a pass on this one, but then again maybe that’s why he’s "Weee heee" all the time. Sure, the track's subject matter isn’t overtly kid-friendly, but it’s not the first track to have this as part its DNA, and who cares? It’s fun and infectious.

The final track on the album is "Shot". I was going to offer a more modern comparison, but then I realised the band I thought of hasn’t released anything in 20 years, The Cardigans. Still, they’re exactly who came to mind the instant the vocals started. It’s not a bad comparison, as they had some great hits in the ’90s, and this track is a perfect way to close the album.

To me, this is pop perfection. Ten tracks run just over 26 minutes, and it’s the mark of a good album when you reach the end and want more. Each song is a carefully crafted slice of engaging listening, and I think this album will be a big part of my summer soundtrack.