If their previous two albums were a refreshing ode to the beauty of immediacy, with Melbourne jangle-pop gems cavorting among beautifully disinterested vocals, then Levity is perhaps ‘that moment’ that the finest of bands always stumble accross…the moment potential is fully realized and a certain sense of maturity is garnered.

Not that the immediacy is gone (at all). For tracks such as The Perfect Crime and Up To My Elbows will resonate in your earworm cavities long after their natural play conclusion and would easily sit aside the brilliance of their previous releases.

However, Levity more developed. Every other review I have read so far, states that this is due to the isolated, remote nature of the songwriting process during COVID lockdowns. Certainly the swapping of ideas by e-mail (do the young still use this?) might well have meant that more ideas are offered without the ignomy of face to face reaction or that it provides extra consideration.

Either way, the sound has certainly been added to, rather than actually changed. As such Smilers Strange Politely imbues an incessant power-pop stance, Material Condition has a Go Get Mum sparcity, Butchering the Punchline courts a sense of lo-fi, bedroom-pop obtuse, Caveats has a strange new wave yesterday appeal, whereas The Bell take on an Elastica Britpop presence.

Essentially Levity is all still very much the brilliance of The Stroppies…just not as you always considered them.

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