Releasing a string of DIY singles before signing to Oakland punk/garage label Southpaw Records (Ty Segall, Young Guv) for their 2014 Gates of Hell LP, the band received praise from outlets like Pitchfork, Noisey, Spin and Consequence of sound and saw them tour with Red Kross, Black Lips and Screaming Females, while becoming regulars in DIY scenes up and down the East Coast.

For their follow up LP however, the band changed course. Seeking to build upon the lo-fi aesthetic of their earlier releases and push themselves beyond their garage roots, they began working with producer Alex Bonenfant (METZ, Crystal Castles), who brought them into a proper studio for the first time, where they embraced their abiding love for, and near encyclopedic knowledge of 70’s power pop. In the process they honed a potent brand of guitar pop that draws influence from a broad swath of the genre’s history, and the resultant self-titled LP, which was released on Burger (US) and Dine Alone (RoW) in July, has spawned an unlikely radio success in the single "Talk 2 Her," which has been climbing the charts on both sides of the 49th parallel.

The record, which was described by Noisey as "a plea for expression and communication in relationships, for emotional honesty and openness," and "a healthy counterpoint to the cocky, hyper-masculine tradition of rock and roll," showcases a sound that revels in a rough and anarchic feel while displaying a deft approach to songwriting and arrangement. Anchored by Coffey’s untamed wail of a singing voice, the album collects and repurposes ideas gathered from bands like Cheap Trick, Dwight Twilley, Teenage Fanclub, The Cars, Thin Lizzy, The Undertones, and The Exploding Hearts, in the service of songs about teenage isolation, petty criminality and escape, rooted in an unshakeable faith in honesty, love and the transformative powers of pop music. It’s an ambitious record, and one where obvious care has been taken to refine every element of the finished product, but it’s an ambition that even on the 9+ minute epic medley that makes up much of the record’s second side, never edges into pretension or obscures the band’s irrepressible enthusiasm. Despite their maturation this is still, in the words of Pitchfork’s Evan Minsker, “the sound of dirtbags having fun and falling in love.”