It seems with this, their fifth studio album, New Jersey's Gaslight Anthem have well and truly left behind the punk of their earlier releases, seguing in to the nostalgic rock'n'roll flirted with on 2012's Handwritten. Of course, that doesn't mean to say that Get Hurt sees the band mellowing out entirely, the softer elements are certainly more prevalent and the lyrics more introspective but often these moments of poignancy are interspersed with the driving, stadium-sized choruses the band have come to be masters of. As such, the record is built around a dichotomy of intimacy and anthemics that works, for the most part.

There's always been a preoccupation with nostalgia present within Gaslight's lyricism; a wistful romanticism that has been brought further in to the picture with each and every record. And the same can be said for Get Hurt, Brian Fallon's trademark sincerity has always been a staple of Gaslight's output, as well as the rose-tinted Americana which here takes a back-seat in favour of a brooding narrative. And herein lies one of the few issues with the record, their foray into the realms of stadium-rock and almost-balladry make the lyricism of tracks such as the eponymous 'Get Hurt' feel self-indulgent, and a far cry from the resonance of The '59 Sound. That said however, penultimate number 'Break Your Heart' benefits from that which detracts from 'Get Hurt'; with the polish stripped away there's no pretences surrounding the sincerity which gives the track far more of a feeling of legitimacy than the aforementioned 'Get Hurt'.

Elsewhere the album still has some bombastic tendencies but for the most part feels like the final step in the maturing process for the band. Never quite wholly self-indulgent, but always ambitious. Gone too are the metaphors and parables – no more Marias, or Marys or Janes. This is the sound of Fallon facing his demons head on. From opener 'Stay Vicious' this is evident, with the lyrics addressing his subject as “you”, something not often seen before. The lack of proper nouns might well seem trivial those not too familiar with Gaslight's back catalogue, but it really does signify a step away from the band's glamourised 1950s ideals.

Get Hurt is bound to have its detractors, the polish and fully-realised stadium sound might lack the grit that made the earlier releases so appealing. But for those of us who have been there since Sink or Swim this is the sound of the band leaving behind the “blue jeans and white t-shirts”, breaking free of the Bruce Springsteen comparisons and feeling comfortable enough to expand their sound comprehensively without losing their sense of ambition, nor their sense of poignant yarn-spinning.

The Hot Five – My favourite new tracks of the week, usually rounded off with a classic, obscure or alternate track from my music collection.

Track of the week: Trwbador – ‘Breakthrough’ (feat. ESSA)

Welsh Music Prize-nominees Trwbador always make for interesting listen; their unique brand of “dance floor tinged acoustic electronica” has been making waves since the release of the It Snowed A Lot This Year EP on their own Owlet Music in 2010. ‘Breakthrough’ sees the Welsh duo successfully collaborate with Eton-educated rapper ESSA, who has previously collaborated with Wu-Tang Clan and De La Soul among other artists. The resulting fusion of electronic and hip hop styles creates an eclectic sound, ESSA’s thought-provoking lyrics flow effortlessly over a tranquil harp melody, synthesisers, and processed beats. Trwbador’s new album, Several Animals, will be released on August 11.

GOAT – ‘Hide From The Sun’

Do you ever have one of those days where you feel that you aren’t quite getting enough Swedish psychedelia? If that’s the case, then this is the song for you. Released as the first single from the band’s second album, Commune, ‘Hide From The Sun’ marries distorted guitars with sitar and table to create something refreshingly different. GOAT have a great reputation for their intense live shows, and will be performing at festivals throughout the summer before embarking on their first full European tour, which includes the Liverpool International Festival Of Psychedelia in September finishes at the Camden Roundhouse on October 3. Commune will be released on September 22.

The Gaslight Anthem – ‘Get Hurt’

Having spent time recording with Mike Crossey (Arctic Monkeys, Jake Bugg) at Blackbird Studios in Nashville, The Gaslight Anthem are back with their impressive new single, ‘Get Hurt’. There’s a subtly to the track’s arrangement; Brian Fallow’s vocal provides great character in the opening exchanges before the track expands into a well-worked chorus and beyond. August 11 sees the release of the band’s fifth studio album, also titled Get Hurt, which will be followed by five UK tour dates this November.

Zola Blood – ‘Grace’

Little is known about the mysterious Zola Blood, recently signed to long-dormant record label Pond Life. The ambience of their first release, ‘Grace’, only encourages the shadowy image of the London-based band, and the down-tempo electronica on show is complimented by a strong, reverberating vocal performance. Unfortunately not much else is known about Zola Blood, but it is clear that ‘Grace’ demonstrates the potential for more track of this high quality in the near future.

Hidden track of the week: The Libertines – ‘Can’t Stand Me Now’

On the last weekend of June, The Libertines returned with their first gig in four years. Since then they’ve followed it up with a set at British Summer Time, which sparked safety concerns due to the enthusiasm of the 60,000 strong crowd in London’s Hyde Park. Their live shows have been receiving great reviews, and it appears that their long-awaited comeback is a success, so here’s my contribution the Libertines hype: 2004’s ‘Can’t Stand Me Now’, a classic.

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