There's something of a pop rock renaissance currently underway at the moment, with much of the focus falling on female-fronted acts. For all of their artistic pretensions, indie darlings The Orielles are, at their core, a really fun pop band. After what seemed an age of male-fronted, faux chauvinist rock bands like Kings of Leon and Black Keys, we're overdue this focus on female vocalist-driven pop rock.

The closest comparison I can draw to The Beths is probably that vein of tilted head indie pop that burst out of northern Britain just after the turn of the millennium. Biffo Clyro in particular employed similarly huge hooks and pounding rhythms, allied to lyrics that bared their hearts for all to see. The Kiwi twang even resembles the Scottish on the stretched out, double vowel sound of words like 'thro-at', and the 'i' that sings through the second syllable 'ahead'.

The band list Sleater-Kinney and Best Coast among their influences. Their debut full-length sees them carve a niche all of their own. 'Uptown Girl' is just the sort of pogo punk that won't break the charts but that, if there's any justice, will infest the indie / punk clubs of Britain in the coming months. 'Happy Unhappy' is Belle and Sebastian with less venom. All of the tracks, regardless of how the band mix-up the intro’s, end up pleasingly full-on. Opener ‘Great No One’ isn’t alone in boasting a killer chorus, and showcases the band’s four-way, interwoven vocal harmonies.

The shiny production helps to carve a gigantic wad out of what is already a pretty full live sound, with crunchy guitars and some impressively Animal-esque drumming from Ivan Luketina-Johnston. Energy is very much the order of the day, with even the quieter moments (the extended opening of ‘Little Death’) soon breaking out into a furiously fractured chorus. There’s something of the Cribs in there, but without the obnoxiousness.

Perhaps unlike some other recent indie breakthrough acts, The Beths resolutely wear their hearts on their sleeves throughout Future Me Hates Me, especially on the beautiful 'River Run Lvl 1'. There is very little archness; in its place comes a self-confidence not tainted by arrogance.

New Zealand has become a by-word for nerdy charm in recent years thanks to Flight of the Conchords and the movies of Taika Waititi. It would be a truism to say that some of its charm is the uncanniness of the culture; on the surface it’s Anglo-Saxon, but with enriching strains coming from the indigenous population and the sheer distance from the bastions of Western Democracy. It’s a curious kind of mirror that we look into when watching Kiwi film or listening to Kiwi bands, although it feels a little cheap to say that some of this charm comes through on Future Me Hates Me. But it kind of does.

Regardless. Present-day me loves The Beths.