As soon as this album kicks off with "Everything Everywhere", there is no mistaking that indie pop sound. It is full of effervescent optimism, carried by bright, chiming guitars that immediately set the mood. The vocals add a wonderful extra layer, warm and melodic, giving the track an uplifting, feel good quality that pulls you in from the very first moments.

And just when you are ready to settle in, "Totally" kicks in and ramps things up a notch. The vocals once again carry the song, but this time they sit alongside an infectious energy and a darker tinge to the lyrics. That contrast works beautifully, adding depth and edge while still keeping the momentum high.

While "Video (Right There With You)" keeps the momentum going, it doesn’t quite land with the same level of energy. That may be by design, serving as a moment of contrast, a necessary breather after what comes before. Perhaps this is where age starts to show, that familiar urge to seek balance quietly creeping in.

And then, almost on cue, "Red Sky" provides that needed contrast, slowing things down just a touch. It remains firmly rooted in indie pop, but is delivered with greater restraint, a quality that reads as a strength rather than a criticism.

"Sunshine State" pulls us firmly back to the 90s, driven by swirling guitars that nod to the BritPop scene of the era. Its energy is high, but carefully reined in by the vocals, which act as a calming influence. Together, the contrast works so very well.

That 90s influence continues with "Don’t You Wanna Be Near Me?", though this time it leans into a more laid back pop sensibility. The shift in pace is not a criticism, but a welcome variation, allowing melody and mood to take centre stage. It is another strong track, and one that further reinforces the sense that this is building into a cohesive and confident album.

With "Part Of The Problem, Baby", the opening guitar instantly places me among an appreciative audience, recognising the riff and anticipating what is to come. The bass deserves equal praise, driving the track forward with real purpose and giving it a momentum that is hard to resist.

There is a different flavour to "Take Me Away, I’m Dreaming". Musically, it carries a more 80s indie edge that brings The Cure to mind. Not as dark or as downbeat, but with just enough bite to feel slightly edgier. The vocals soften and polish that edge, anchoring the track emotionally. While it is noticeably different in tone and might ordinarily feel separate from the rest of the album, that vocal consistency allows it to sit comfortably and, ultimately, it works. A final shout out is deserved for the track’s ending, where jangling guitar layered over a synth bed sounds particularly good.

I wasn’t expecting the jangling guitar of "Into the Wild", which immediately gives the song a distinctly country feel. My first thought was, "I don’t think the vocals can quite rein this one in", but as the track unfolds, the guitar recedes into the background, allowing the vocals to take centre stage once again. If the jangly guitar had been slightly reworked, this could have been a perfect lead-out track for the album, but for me, there’s something about it that makes it stand apart.

The album closes with "Oceans Apart", which, with my production hat on, feels a touch too high-energy to serve as a finale, but that’s just my take. That said, as a standalone track, it is wonderfully paced, even if slightly on the short side at just over two minutes.

The album opens with the bright, uplifting indie pop of "Everything Everywhere" before moving through standout tracks like "Sunshine State", with its 90s BritPop guitars, and "Take Me Away, I’m Dreaming", which adds an edgier 80s indie vibe. With moments of restraint and bursts of energy, the record balances mood and momentum, building into a cohesive and engaging listen. Overall, it’s a record that feels thoughtfully crafted, confident, and undeniably satisfying.