U.K. punks Martha followed the same lines as their U.S. contemporaries of the DIY scene, melding soaring melodicism with upbeat tempos and raw, guitar-heavy production. A split release with punk crooners Radiator Hospital and tours with anthemic rocker Jeff Rosenstock were great places for their hook-heavy songs of heartbreak and understanding to grow. Third album Love Keeps Kicking finds Martha fully developed into a well-oiled machine of angsty lyricism and intricate guitar pop, sped up to a buzzing pitch. High-energy tunes that hold melancholic lyrical narratives are still the order of the day for the band, but on Love Keeps Kicking, both sound more refined than on previous albums. Opening track "Heart Is Healing" offers up bright, wistful vocal harmonies and a jittery tempo, but tempers vocal hooks with a spindly guitar lead that would sound at home in a punked-up version of Dire Straits. Intricate guitar arrangements shine throughout the album. "Mini Was a Preteen Arsonist" builds a dense wall of guitars, including gritty overdriven tones and layers of acoustic brightness. The rhythms are tight and unbusy, relying on speed more than showiness to offer support to blazing guitar solos and emphatic vocals. Pop is at the core of Martha's unique brand of songwriting, with the title track sounding parts Belle and Sebastian's carefree bounce, parts Los Campesinos' restless velocity. Things get really exciting when the band is playing almost too fast to contain their pop impulses. The first half of "Brutalism by the River (Arrhythmia)" speeds by so quickly it's hard to catch all the twisting hooks and interlocking melodies the first time around. Martha's confessional and lovelorn themes fit perfectly in their revved-up pop framework. Love Keeps Kicking is a crystal-clear presentation of their powers, making equal space for the group's enduring stories of heartsickness, well-crafted pop structures, and blazing guitar work.