Since their self-titled debut in 2004, few bands have possessed The Cribs‘ blend of rogue spirit and instant likeability. Main vocalist Ryan Jarman knows how to coat his punky inflections with a layer of confident tunefulness like his brethren in Art Brut and The Rakes, and the group’s spiky guitars are never so sharp as to slice listeners’ ears. On November 10th (September 7th in the U.K.), The Cribs will release their fourth full-length, Ignore the Ignorant, and as “We Were Aborted” illustrates, the band has become increasingly comfortable with the practice of enriching their songs with a fuller production aesthetic.

From its opening strums, “We Were Aborted” offers a more closely curated take on their music. Guitars bounce back and forth with newfound mass, the feedback even seemingly modulated to stay in key. However, it’s easy to find The Cribs’ bleeding heart still panting beneath the patina of refined production. They aren’t a band that has ever needed to hide behind lower levels of fidelity: their hooks are gigantic enough to sideswipe an eighteen wheeler, and even if they weren’t, Jarman’s bravado would likely carry the band most of the way. When they lay into a line like “That’s what they’re here for / To make you feel important / Because you knew we were aborted,” it doesn’t matter that the lyric doesn’t really make sense–you’ll want to sing along regardless.

A valid knock on The Cribs is that (production tweaking aside) they haven’t really developed their sound much over the years, but when you can muster bluster like they do, there’s something to be said for sticking to what one does best. It’s worth noting that the songs on Ignore the Ignorant are the first to feature new full-time member Johnny Marr (yes, that Johnny Marr), who rather inconspicuously adds a new layer to the guitar work. “We Were Aborted” is the latest anthem from a band that knows how to crank them out and will leave their fans eagerly awaiting their fourth LP.

“These girls fall like dominos”–so goes the refrain to this track from the upcoming debut full-length by The Big Pink (also known as the London duo of Robbie Furze and Milo Cordell). A Brief History of Love will be released on September 22nd and should find the band comfortable among current and former 4AD labelmates such as Atlas Sound and The Cocteau Twins.

However, the most apt comparison to be made to this band’s thick, dazzling sound comes in the form of fellow Brits Kasabian. As with Kasabian, The Big Pink perfectly negotiate the tenuous terrain between slick, marketable grooves and inspired songwriting and production. If anything, “Dominos” almost sounds too cool, is nearly too perfect. (How long before this track winds up neutered as the background music to a fistful of car commercials and movie trailers, I wonder?)

But if sharing “Dominos” with the rest of the world via an endless licensing stream, it’s a price I’m happy to pay, as this track is a veritable crash course in how to write a killer song. Whether it is that massive hook, the juicy drum beats, the swaying synthesizers, the snarling, accented vocals, or–yes!–that brain-crippling rhythm shift and echoing analog note 1:52 in, this is just brilliant all around. It’s a must-hear, enjoyable in that greatest, easiest, most visceral way, and should mark the start of something great for the Big Pink.

Intensity–that’s the defining trait on “Ships with Holes Will Sink,” the first single from We Were Promised Jetpacks‘ upcoming debut full-length.

Whether it’s in reference to the lyrics (the opening lines are “I think I died this time / Suffered bullet holes and stab wounds in my side”), Darren Lackie’s drumstick-shattering, hard pounding beats, or the soaring grit of Adam Thompson’s vocals, fury and ferociousness are definitely not in short supply on this track. Although the Edinburgh foursome have youth on their side–the average member being just old enough to order a pint here in the States–their sound is cohesive and polished, their “inexperience” simply translating into an abundance of well-tapped energy.

“Ships with Holes Will Sink” has a pleasantly meandering quality that pairs well with the sense of emotional energy present throughout. One can practically see the sweat dripping off Thompson during the song’s mini-crescendos; although he ends the song with a refrain beginning, “We tapered off,” you know he cannot be singing about himself or his bandmates.

While the pieces present here aren’t too startling in and of themselves, it is their configuration that makes the song so successful. WWPJ share a lot in common with the soaring passion of some of their FatCat labelmates and also borrow heavily from the contemporary sounds of British indie acts of the past few years. However, it is to their credit that it all sounds fresh coming from their instruments.

Mr. Cocker, by virtue of his prominent position as the face of Pulp, has become one of the enduring statesmen of the once remarkable Brit-Pop era. He’s right up there with Damon Albarn and Noel Gallagher, except that he’s always exuded much more of a genuine coolness than any of his contemporaries, debonair yet approachable, stylish beyond reproach yet somehow still part of the common people.

Given his pedigree, Cocker is going to turn some heads with his soon to be released Further Complications, a record that doesn’t shy away from turning up the guitars and rocking out. Especially diligent fans have no doubt seen this coming since Pulp disbanded; his work as Relaxed Muscle was a dead giveaway that Jarvis was embracing his inner guitar-throttler.

“Angela,” the first single from his new record, closes the Pulp/Relaxed Muscle link, retaining the pop conventions of the former and some of the more raucous qualities of the latter. Tunefulness ultimately wins out (look for it in the chorus harmonies, for instance), but the new found edge is undeniable. Despite the fake ending before the reprise, this song is a quick sprint where Cocker has previously preferred the half-marathon and the punchiness works. It’s hard not to start up “Angela” again as soon as its last beat has been thumped, the surefire sign of a winner.