I’m going to get straight to the point - the main thing we need to establish here is whether or not Johnny Foreigner have progressed past their mid-2000s, slightly eccentric, exaggerated indie rock niche. We’re now four albums and seven EPs into the three-piece’s almost six-year career, and sometimes it just doesn’t feel like we’ve ever moved away from 'Sometimes In The Bullring'. A song that, for me, defined everything the band ever wanted to be: the soundtrack to an obscure teenage melodrama; dripping tales of woe, despair, love and angst dressed up in a pseudo-happiness and a belief that yes, we are better than all of these troubles.

Waited Up Til It Was Light presented this perfectly. It’s a great album musically and lyrically and I will always think fondly of it. It’s just so hard to try and summarise everything since then as anything other than ‘more of the same’. Don’t get me wrong – this is obviously a band that can display an impressive amount of consistency – but I just can’t help but feel there’s space to fill where songs like 'Salt, Pepper and Spinderlla', 'Our Bipolar Friends' and 'Eyes Wide Terrified' used to be all the way back in 2008.

But let’s stop dwelling on the past and deal with the present: Johnny Foreigner vs. Everything is here (which is a bold statement in itself, as I was pretty much under the assumption that they’d faced basically “everything” in their discography so far) and at first glance it’s incredibly daunting and does nothing to reassure my doubts – it’s 17 tracks long and has song titles that score from 1-1000 on the obscurity-to-pretentiousness scale. Guess we’d better get stuck in then?

Opening track 'If I’m The Most Famous Boy You’ve Ever Fucked, Then Honey, Yr In Trouble' is good. Yes! This one ticks the boxes on the “What’s Great About Johnny Foreigner” checklist: an overblown first-world-problems attitude (“I wanna be sat in parks with girls with sunglasses and cocktails”) coupled with a thunderous melody of chaos and confusion. We’re definitely on the right track here.

But then suddenly, there’s a subtle change in the tone of the record right from the second track 'With Who, Who And What I’ve Got' – this is the start of an ever-so-slight maturity for the band. There’s something a little tenderer about the track, and it acts as a premonition of things to come. '200X' could very well be 'Salt, Pepper and Spinderlla' part two and it’s exciting. “I’m done with this / I’m not giving in / I’m not giving up on you / we just got older” our humble protagonist Alexei Berrow gently croons, and it’s at this point in the record – a mere four tracks in – that Johnny Foreigner’s tiredness with themselves starts to show. This is a band in a very sensitive, frustrated and stripped-back state, and contrary to belief it’s exactly what they need right now because they’re producing some of the best songs they ever have.

Realistically, there are only really 15 tracks: 'concret1' and 'concret2' act as skits (or should I say poems?) of seemingly random, cut-and-pasted audio clips of pessimistic thoughts, teenage angst and general self-hatred that only emphasise this building frustration – at least lyrically – with the idea of growing up and realising that everything didn’t turn out exactly how you wanted it to. They put it best themselves in the opening lyrics to 'You vs. Everything': “Teenagers need happy homes like parents need their learning curves / though everyone you ever meet will die.”

This is Johnny Foreigner really breaking into the Jimmy Eat World-esque ideology, dressing it up as something that the 15-year-old inside of you can happily listen to without being told that “LOL, u have no taste in music, m8” when your hipster friend stumbles upon your Last.fm page late one night.

But all jokes aside, for the band this is a statement about what they’re all about, that they are really one of the best bands at what they do. They relate to all those petty problems you struggle with every day: the 9-to-5, the silly things that boys and girls can do sometimes to each other, the missed chances, the regrets, all the things that other bands are too cool to write about these days.

As a whole, this record is awesome. It’s refreshing to come back to a band after a long period of time to find that their new material is a doppelgänger of all the best bits you remember about them, souped-up. This is the definitive Johnny Foreigner record, and you’d be silly to let it pass you by.