Quite why these Canadian punks have recorded a concept album about doomed lovers marooned in a fictional British town during the late 1970s and early 80s is probably between them and their Quadrophenia obsession. It's also much better than it seems on paper, drawing on the blue-collar rage of another great noisy rock opera, Hüsker Dü's Zen Arcade from 1984, as well as a newly developed melodic side, which offsets the bullhorn roar of singer Damian Abraham. The plot rarely makes sense but that hardly matters; as the riffs pile on top of each other, there's little choice but to submit.