As fresh pop trends fashioner #hashtags, music piracy slaughters the industry and magazines construct and destroy innocent bands through the hype-machine (Viva Brother, please forgive us), there's a certain species of band who just....get on with it. Take Clock Opera for instance. Now they aren't ones to mess around.

For the facial bearded multi-instrumentalist Guy Connelly himself, this isn't much of a revelation. Throughout his musical lifespan, he's made his name through a street-long list of popping remixes including the likes of Blood Orange, Everything Everything, The Drums and Metronomy, and has even gone as far as to reprocess Marina & The Diamonds' 'I Am Not A Robot'. From being in alias since 2009, Connelly's undeniable creative outlet Clock Opera debuted with 'White Noise', while soon dropping other worthy singles 'A Piece Of String' and 'Once And For All', plus a few EP's in the midst of their touring frenzy 2011. Any time for a lunch break, then?

Apparently not. Clock Opera waste not a precious moment in easing you into their delightful debut full-length Ways To Forget, jam packed full of up-tempo blinding arrays of synth, propelling bass and smashing guitar. It's a vigorously brave union of instrumentals, many of which could never have been anticipated in their previous efforts.

Indeed, familiar tracks 'Lesson No. 7' and 'Belongings' both structure as vibrantly as before – introducing the track gently with either an amiable piano ballad or a repetitive guitar strum, gradually growing in texture, before propelling into an overwhelming crash of instrumentals. Connelly's voice distinctly resonates with Arcade Fire's Win Butler behind all of the pounding rock instruments albeit the dozens of band members, his punching stabbing lyrics "one foot in the future / one foot in the past / shitting on the present / and you lashed to the last" complimenting the video's jaw-grinding storyline.

Despite disregarding genres and musical fashions, it's seemingly clear that Clock Opera recognise the importance of electrifying their sound in order to remain relevant. '11th Hour', made in the most minimalistic sense possible by worldly sound bites such as the echoes of a hand clapping and the vibration of a basketball as it collides with the floor, could well coincide with the atmospheric notion that The xx exude, if not for it interrupting the chorus that totally disfigures the soothing introduction. It's not as though we want an entirely slower, more languid album that'd unequivocally lose what Clock Opera really thrive on, but at least one or two ambient, climatic tracks to act as a relief for the thriving momentum of the other tunes.

But where the troupe thrive in indie-electro, they also aren't afraid to indulge in pop madness. Thundering in M83-esque synth explosions, 'White Noise' and the highly addictive 'A Piece Of String' reveal Clock Opera's most adorning character to date. The showering fuzzes and glitches of booming synth and Connelly's enthralling vocals can only remind one of an early Friendly Fires that'd put any disco dancer to a challenge. And, with that, Ways To Forget is over before it has even begun.

If there were any subtle doubts about Clock Opera, Ways To Forget certainly disproves these apprehensions. Never the kind of band to invent a new arena of sounds, hog headlines and magazine covers or establish themselves through wobbly foundations; criticisms aside, you can't deny that these guys curate pop bangers that are both exciting, enthusing and enthralling all at the same time whilst pertaining to meaningful values that in a years time can guarantee to be as hooking as ever. And hey, you never know - Connelly just may be our man to bring beards back in again.