Right first thing first. I can honestly say I didn't care much for their first record (save for the unquestionable beauty of 'Maps' and the bat-shit crazy 'Y Control') and their second effort was patchy at best. That being said the latest release from archetypal New York hipsters Yeah Yeah Yeah's has really managed to push my buttons. Sonically it brings to mind the midnight oil Electro-pop of Depeche Mode or 80's Blondie but there's so much more melody and lyrical warmth here. It might be the indie-rock background but surely that would mean all indie bands that choose to "go electro" should be as successful. Indeed it seems almost expected these days for otherwise rather bland and forgettable indie bands to cover up their unremarkable songs with lashings of vintage synth sounds ('cough' white lies 'cough'). But where others have tried and failed (Keane anyone??) the Yeah Yeah Yeah's have burst onto the electro pop spectrum with enough individuality, vitality and (most importantly) great songs to really make an impact. This is full blooded, balls to the wall, emotionally exposed pop music that deserves to be heard and appreciated by as many people as possible, regardless of genre affiliation.

It kicks off with lead single 'Zero', I already knew I loved this song but in the context of the album it serves as a perfect opening track. It's a statement of intent for the record and although nothing else on here really matches it in terms of hooks or pure energy it's far from the best song here. Zero sets a precedent for much of what's to follow, this is disco infused electro-stomp rock with one foot on the dance-floor and the other on a distortion pedal. It continues in a similar (albeit less impressive) vain with 'Head's Will Roll' which leans a little more heavily on the disco. It's one of the weaker songs on the record and one of the few without a really killer hook or melody. it's certainly catchy though and there's a really unexpected U2 style guitar break two thirds of the way through that totally caught me off guard. 'Soft Shock' is next and for me is one of the albums highlights, it's softer electronic edges instantly bring to mind the excellent Postal Service record from a few years back (still waiting on a follow up) and the introduction of traditional fuzz box guitar works as a slick contrast against the buzz-saw synths and plinky-plonk keyboards. In fact it's at this point that you start to realise what a master sonic craftsman Nick Zinner is, the sounds on display throughout this record display the depth you'd usually associate with Trent Reznor or Richard James. It's rare for a self proclaimed 'rock' band to display this strong an ear for texture (rare for indie rock anyway) and no doubt audiophiles everywhere will approve.

Next up in 'Skeletons' and it's here that we first catch a glimpse of the records darker heart. A dense, melancholic song which builds slowly over 5 minutes of layered voices and distant guitars. Karen O's soft melodies and poetic lyrics ("fall asleep, spin the sky, skeleton me") mesh beautifully with the cascading guitar and synth patterns and when the drum rolls break in towards the end the effect is both intense yet subtle and calming, like mogwai with clipped wings. Brain Chase really shines here and indeed the whole record's rhythm section sounds so tight and focused it's barely recognisable from the bands early, more punk indebted days.

For all it's triumphs though there are misses to be found at the albums core. 'Dull Life' and 'Shame and Fortune' sound like the kind of songs the band left behind 3 years ago and sound out of place amidst this records glorious, expansive pop songs. They are not bad songs on their own terms, but when compared to the first and last 4 songs on the record they mark an audible dip and I can't help but think they would have served better as b-sides (they just sound out of place here). It may have something to do with both tracks heavier reliance on a traditional guitar sound which else-where it appears the band have moved on from. Of course chances are these songs were included to cater for the hardcore fans who might well lament the bands new direction. Personally though I think once a bands progressed as far as this all ties to the past should be severed (as in most cases Radiohead are a good example here).

'Runaway' is almost as affecting as 'Skeletons' in it's own way, it follows a very similar template but has a much sparser and more immediate sound. It's the first and only time on the album that piano takes centre stage and it's used wisely here, it's almost like an anti-ballad for the shoe-gazer sect complete with a string enhanced climax that almost reaches the lofty heights of a 'Broken Social Scene' denouncement . The last proper 'dance' effort on the record comes in the shape of 'Dragon Queen' which pushes the boat out even further. It's slick, dance-floor pop which (unlike 'Head's Will Roll') has killer hooks to spare. It's interesting to note that TV On The Radio's Tunde Adepembe and Kyp Malone guest on this track and the only other record of the last 5 years I could think to compare Blitz with would be TVOTR's 'Dear Science'. It's not quite as strong a record as Dear Science but it comes close and on the last two tracks it even surpasses that records sky scraping excellence. Both are truly beautiful songs, the kind of songs any fledging songwriter (myself included) will hear on the radio and immediately think "I wish I'd written that".

'Hysteric' is easily this albums trump card, indeed it may well prove to be the bands most enduring song (surpassing even the afore-mentioned 'Maps'). It takes alot to make the line "you suddenly complete me" sound anything less than sappy, here it sounds almost like an epic declaration of love. Yes the effect on the vocals in the chorus sounds a little bit like Enya, but I defy you not to be moved by this song. In fact this song pretty neatly sums up my feelings on Ms O as a vocalist/lyricist. All of the songs here seem to revolve around love (lost and found) but Karen writes in a cryptic, trail of thought fashion and the words connect with the music so well it's hard for me to deny her the odd mis-step. Vocally she has one of the sexiest voices in music and it sounds like she knows it. Gone are the days of "Date with the night's" rambunctous caterwauling, every song here contains a perfectly judged, delicate yet spirited performance, and it wasn't until I'd given this particular song a few spins that I fully realised that. Not much more can be said about Hysteric, everything about it is pretty much perfect and the final almost completely instrumental 60 seconds of the song provide one of the most moving musical moments of the last 10 years (FACT).

'Little Shadows' effectively picks up where Hysteric leaves off. It's the most simple song on the record both structurally and melodically and yet it manages to pack just as strong an emotional punch as the instant classic that preceded it. It's aims for a different part of the heart so to speak, but it still hits just as deep. It's a hushed, reflective and widescreen closer and it has the effect that any great album closer should have. It feels like a book closing firmly and the first thing you want to do upon closing that book is to open it right back up at page 1 and start again.

Everything you need to know about this record can be deduced from it's instantly iconic cover art. It's explosive, but familiar, beautiful and damaged, (please pardon this next one) hard and blank on the surface but with a soft, colourful centre. This is a pop album sure, but a confrontational, daring and almost classic pop album with some of the most striking melodies and ideas I've heard so far this year. Regardless of what you think you know about Yeah Yeah Yeah's I would implore you to give this record as much of your time as it deserves.

Tracklisting
1. Zero
2. Heads Will Roll
3. Soft Shock
4. Skeletons
5. Dull Life
6. Shame & Fortune
7. Runaway
8. Dragon Queen
9. Hysteric
10. Little Shadow