Oh No Oh My started with exclamation marks stuck in the midst of their name (although originally called The Jolly Rogers; thank god that changed), churning out a remarkably twee form of indie pop that sped along on a host of hyperactive hubbub that spat and spun into playful experiments with synth and guitars. It seems that over the course of their latest offering, they have managed to somewhat mature with each successive song and successfully moved into a more melodically subtle sound, deciding to drop the pointless punctuation in pursuit of a fuller, more accomplished resonance and ideology. The elementary basis of stabbing indie pop has remained behind, obviously ingrained in the four Texans, but throughout People Problems, they explore realms of melancholy, steady but sturdy riffs and a refined approach to constructing a carefully orchestrated richness in the depths of their sound.

Everything is far more subdued compared to the relentlessly rip-roaring glitch-filled indie pop that populated their earlier releases. Nonetheless, it's tricky to suddenly throw off the reins of the past so we open in 'Walking Into Me' with a quick strum that combines itself with a Fleet Foxes vocal hum, awkwardly taking the steps into a more developed indie pop ethos, whilst maintaining an electronic whirr as a consistent core. Throughout the record, we have the same battle between old and new for the band, seeking to carve an adult approach to their usual brand of highly infectious sugary sweetness.

'So I Took You' is a pure blast of indie pop cheese, documenting two lovers adventurous tale to gleefully darting slice of strings, before culminating in a sudden dead end, leaving you wondering if you accidentally hit pause. It's this odd mixture of sudden pop blasts, an oddly mellowed mentality and flares of synth and strings that make up for an unusually unfulfilled sensation at the end of twelve tracks. There is simply no denying the musical quality and talent of the band, all multi-instrumentalists, who bring a great wealth of concentrated builds, drops and clashing riffs into effect here, there and everywhere. Instrumentally, whilst accomplished, everything comes together and bounces off one-another far too rapidly. Similarly, the confused confrontation between concepts overshadows the fantastically realised moments of musicianship and intelligently crafted lyricism that surface in some of the thriving areas of the album.

This musical maturity has definitely taught Oh No Oh My how to take their time, evident in the final track 'Summerdays', a sprawling six and a half minute sauntering that sounds like a summery haze of a day, building towards an instrumental repose that winds down the record. This curtailed final curtain showcases some of the best the band has to offer, in the inventive flourishes of summery flashes of pop that could make for beautiful sunshine accompaniment come summer time. Maybe this just isn't the right time for People Problems, steeped in the depth of a wintery, rainy snap of depressing political output and turgid grey skies. Oh No Oh My need sunrays, picnic spreads and trips to the beach to collaborate with the compellingly crafted cuts of indie pop that manifests in the more charismatic moments of their work. And maybe having a foot stuck in two disparate styles isn't quite allowing the band to shine; a new release may require them to pick a side of the fence and stripping off fully before sunbathing in it.