It’s very easy to enjoy the new Wild Ones album, the concise ten tracks of Mirror Touch show off their wonderful, catchy and thoughtful brand of dream pop perfectly.

Songs like ‘Do You Really’ combine slight psychedelic influences and booming synths in a somewhat subtle, poppy and light way. But despite being dominated by wonderful Alvvays-esque indie pop, it’s not overtly cheerful or ignorant of the ails of reality. ‘Invite Me In’ (vocalist Danielle Sullivan’s favourite track) describes dropping your guard for someone and letting them past your curated public exterior and into your unfiltered, unseen private life. In ‘Paresthesia’, a common physical symptom of anxiety, the upbeat, poppy vocals contrast to dark lyrics of “lost in the crowd every place I go, feeling sorry for myself when I’m home alone, I’m not right inside”; a perfect allegory for the invisibility of mental illness.

There’s weirder, more cinematic moments too. ‘Night Shift’, a dark, murky and warped interlude with David Lynch-y vibes, acts as an immersive escape into the album’s darkest corner. A few tracks later ‘Forgetting Rock N Roll’, with its thumping drum beat and distorted intro vocals, boasts Synths that wouldn’t be out of place on the Drive soundtrack. It’s one of the albums stand out moments, sounding as powerful as the rest of the album feels intricate.

‘No Money’ closes the album with some of the catchiest moments. Commenting on the unfillable hole the desire for wealth creates, Sullivan’s delivery of “Everyone’s addicted to the things we want. You can scrape it all together but it won’t be enough. You tell me everyone’s beholden to the things we love. Another hundred million dollars gets me closer to God!” is just perfect.

The songs on this album are consistently fantastic, but it’s the subtleties really make it special. The feeling of a melancholic distortion pervades the album’s indie pop sound. You can easily appreciate it simply for the sounds and melodies, but listen deeper and you’ll find a wealth of emotion, ideas and meaning.