Parquet Courts must be doing something right. They're at the 100 Club playing their third London date this year already, having previously graced our shores in March, pulling down their trousers and pants in the face of DIY indie wisdom - or at least respectfully proving that what (fantastic, Kraut-y) support band Mazes's frontman Jack Cooper has recently suggested about British bands going transatlantic is untrue in the reverse. Or, at least, it's irrelevant when the UK re-release of your second album, Light Up Gold has garnered a string of swooning reviews, the general pitch being of the 'we like the Pavement-revival combination of aggressive guitars, catchy hooks and witty lyrics' variety. Whether or not they've read the reviews, the punters are certainly up for it tonight, and it does indeed look like the sort of middle-aged crowd who gleefully flock to the latest critical darlings, whoever they may be. It's hot and densely packed down below Oxford Street, and after a tense three-way battle for last two Champions League spots earlier in the day, there's the distinct threat of unresolved football violence in the air.

Maybe the football thing is just me, actually, having toddled over from a pub in Islington, drenched in other Arsenal fans' cider. But when, five songs in, someone tells the band to "play faster!" and the band happily oblige, a switch is flicked and a group of overexcited fans swarm to the front, as if the band's appropriately named ringleader, A. Savage, has started to blow his moshpit dogwhistle, inaudible to the rest of us, and overexcited (and just about tolerable) do these moshers remain for the rest of the gig. The Texan New Yorkers have decided tonight to try out new material - in a way that only a band who are confident enough to risk alienating fans who have only recently gotten to grips with most of their matierial could - meaning that for the third of the gig which is unknown territory - to fans and Parquet Courts alike - they're not perhaps as tight as they've demonstrated previously this year, but it doesn't particularly matter. All the things that people enjoy are still there: the barked stream of lyrical tomfoolery, the use of feedback as an instrument in its own right (practically turning it into an artform), the tight rhythm section, but most of all, that elusive quality that Malkmus and co nailed so well; lyrics that draw you in, fit the music, and, most importantly, are as important in how they sound as what they mean.

Light Up Gold was the colour of something Savage and his co-conspirators were looking for, but Parquet Courts was the sound of something we were looking for, too. And although they may have shown flagrant disregard for touring etiquette - you know, by having the balls to try and crack Europe repeatedly in a short space of time - they stick to one of the most important and endearing of on-tour tactics - they man their own merch stall at the end. I'm surprised they still had the energy, to be honest.