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As far as influences go, you can do a lot worse than The Clean, one of the greatest bands to come of out of Australia. When Twerps formed in 2008, their stated ambition was to write a song as good as The Clean's 'Anything Could Happen' - a noble intention indeed. The release of their first, self-titled album in 2011 saw a band in thrall to the lo-fi stylings of Flying Nun-era bands like The Chills, and perhaps more strongly to New Zealand's The Bats (whose excellent discography received a reissue last year). It was a promising enough start, but it still felt Twerps were yet to write that elusive hit.

That all changed in 2013 with the stand-alone single 'Work It Out' - it was just about the most perfect jangle-pop song you could wish to pen, and easily one of the best that year. 'Work It Out' also hinted at a slightly glossier Twerps, willing to bolster their sound, and drawing inevitable comparisons to The Go-Betweens in the process. They followed up with the Underlay EP in August last year, which further refined this new confidence. Having supported Real Estate and Mac DeMarco in recent times, Twerps look ready to go overground - ironically a feat that their idols never really achieved.

And so to Range Anxiety, their second full-length - and their first on a major label. Whip-smart single 'Back To You' is an unabashed love letter to the suburban, self-contained worlds of bands like Violent Femmes and The Replacements, but with a markedly lighter touch ("Somebody out there is doing better than me / Somebody out there is sippin' on an iced tea"). It's a wonderful moment, and a great addition to what is fast becoming a glittering collection of singles.

It is, however, something of a red herring: much of Range Anxiety was written in rehearsal rooms and studios, and feels more spontaneous, more jam-based, than their previous releases. Apparently the rest of the band convinced guitarist and singer Julia McFarlane that 'I Don't Mind' was about a bank heist, just to see what kind of lyrics she would dream up for her backing part; it works, brilliantly. That lightness of touch is evident again, with a delicate riff that gives way to a tumbling chorus. Another highlight arrives at the start of side two, with 'Shoulders', which sounds like a beautiful lost ballad from a forgotten Sarah Records band. Martin Frawley even does a passable Ian Brown impersonation on the ominous 'Fern Murderers', a whispered and evocative slow number with a suitably John Squire-esque solo.

As with any band who are exploring the outskirts of their sound, Range Anxiety contains a couple of missteps - 'Simple Feelings' threatens a chorus as good as that of 'Back To You' which never quite arrives - and at 13 tracks, the album does feel a bit baggy, ending with the comparative whimper of 'Empty Road'. That shouldn't detract from what is an enjoyably breezy collection; there are certainly enough signs to suggest that Twerps can join the pantheon of great Australian janglers, and there is no doubting that they have talent and energy to burn. As the lyrics of their totem-song suggest: "anything could happen, and it could be right now."

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This review was submitted by 405 User Emily Reily on March 25th - she awarded it an 9/10. As is tradition with user reviews, nothing has been edited, or removed.

Twerps' second full-length album, "Range Anxiety," builds like a slow and steady charge, starting with the homespun, casual sound of "House Keys."

Twerps' style of sunny guitar pop lightly touches on 60s harmonies and Big Star sentimentalities, creating a sound that's mellow but not easily forgotten.

The band takes that amicable sound one step further with the song "Back To You," brightening up the common cohabitation of drums, guitar and percussion, and defining the Australian band's Replacements/mid-era REM influences.

Everyone in Twerps (guitarist Martin Frawley; bassist and synth-man Rick Milovanovic; drummer and guitarist Alex Macfarlane; and guitarist and keyboardist Julia McFarlane) trade vocals, which makes for a true ensemble band.

Julia McFarlane lends her straightforward but husky punk vocals to "Stranger." Later, on "Shoulders," McFarlane takes another solitary crack at the lyrics, adding her delicate vocals to a heartfelt and meaningful guitar ballad.

"White As Snow" uses a quirky but pretty, jangly guitar melody that's straight 60s Britpop. It's also the most memorable on "Range Anxiety."

The slightly perturbed lyrics on "Cheap Education" -- "I'm seeing action, but no feeling...../are you with me, or without me/ I'm picking reason before believing" segue into "Love At First Sight."

That dreamer of a song signals a complete turnaround from the towering bitterness of "Cheap Education," portraying a simple romantic melody and youthful rhymes.

Throughout "Range Anxiety," there's an easygoing sense of harmony, of the feeling that the album can pull you out of whatever doldrums you're in and gently nudge you back up.