Ellipses sees Biffy Clyro become a little more schizophrenic, accentuating their extremes rather than sticking to the middle ground they so deftly occupied during their second album trilogy. The 'popular' songs, those that appear purpose built for radio aren't quite in the same vein as those on Only Revolutions or Opposites but genuine pop numbers thanks to the arrangements and instrumentation. Conversely, Ellipsis contains some of Biffy's most aggressive moments both in terms of music ('In The Name of the Wee Man', 'Wolves of Winter') and the lyrical content. At times, Simon Neil sounds tortured and at other times despairing, the difference being on Ellipsis is that these emotions are played out at their extremes, a kind of melodrama if you will, and they're also simple; there's nothing hinted at here, it's all heart on sleeve. There's such a clarity to the words they have much more of an impact, a clarity we haven't heard since Puzzle.

If Ellipsis is to be the start of a new trilogy, and I sincerely hope it is, Biffy Clyro have started on a strong foundation; seemingly comfortable in their skins as one of Britain's biggest and popular rock bands they're pushing themselves into different directions on that front while welcoming back some of the aggression and spikiness that characterized their first three albums and made them so appealing in the first place. Ellipsis has an air of Moving Pictures about it; an amalgamation of everything that came before it into a cohesive whole, with a couple of new bits added in. It's still Biffy, but it sounds a little new.