Following the progress of Viola Beach towards the beginning of 2016 was an incredibly exciting experience. The Warrington quartet presented a sound that was immediately accessible and undeniably infectious, approaching melody and structure with an engrossingly simplistic approach. It would seem that Kris Leonard, River Reeves, Tomas Lowe and Jack Dakin knew how to write pop hooks that were straightforward, honest and evidently communicable.

Merging the indie conventions of '00s alumni such as The Zutons and Mystery Jets with a melodious pop sensibility, early releases including 'Like A Fool' and 'Swings & Waterfalls' caught the attention of a huge variety of tastemakers as well as peers such as Blossoms and The Vryll Society.

The formula continues on their full-length. 'Go Outside' is a pointless plea of sorts to a love conquest that is achingly empathetic and immediately relatable. 'Cherry Vimto' is built around a guitar line written to burrow within your skull and implant itself there for the remainder of eternity permeated by the simplistic vocal hook of "stay with me." It is not presenting anything strikingly original yet it's doing indie-pop to the very best of the band's abilities.

'Drunk' is a highlight, with its impressive verse leading into a percussive bridge before we rejoin a guitar hook that would not have been out of place on Foals' Antidotes. There is a disjointed breakdown alluding to the band's free-spirited and earnest approach to their live performances. 'Call You Up' has a Blossoms grumble and a Last Shadow Puppets groove, a slight endeavour into blues rock that may have developed over time. It adds a depth not plumbed on the rest of the record, slowing the anthem atmosphere for a more introspective look at four twenty-somethings still trying to figure out themselves and their place in the universe.

The tone of the lyrics and the sound does not vary much, as Leonard stated to Wonderland magazine earlier this year that they are written out of "a very grey and industrial" hometown, where there was "nothing to do other than drink cider and smoke rollies on a park and chase after girls." This enhances the boyish charm of the record much in a similar way to some of their influences including The Kooks and The Coral.

This charm is epitomised by their breakthrough single 'Boys That Sing', it is phenomenally well-written pop music coming from a pure place of honesty, which is reflective simultaneously of location and situation. Utilising the formula that made Whatever People Say I Am, That's What I'm Not such an ingenious statement of intent, this is a befitting album closer to consider the potential the quartet had ahead of them.

Although this review is written in the gravest of circumstances, Viola Beach is an important release to acknowledge and celebrate what the quartet achieved in their short career. They were a band with a distinct style for songwriting, an intelligent way to assess and evaluate their surroundings and relationships with an overall determined approach to music. We send our sincerest condolences to the friends and families of Kris Leonard, River Reeves, Tomas Lowe, Jack Dakin and their manager Craig Tarry and hope you find comfort in this exceptional debut album.