It’s all in the vocal. So much of what makes some bands, some artists, so instantly recognisable, so completely individual and endearingly yours, is in the vocal. It’s hearing that refrain and just knowing, that’s Thom Yorke; that must be Mike Patton. And it’s a difficult act to accomplish. To force your throat into a shape that’s truly yours. To have a sound that’s so idiosyncratic it forms a real quality becoming more important and rewarding than any gimmick or guitar lick. It becomes the essence of the music, and for me, it’s why I love Screaming Females.

There’s just something about Marissa Paternoster’s voice. It’s a guitar screech of a voice; it’s incendiary, driving and so completely hers. And that’s not to underplay the rest of the album. It’s just the real hook here.

The songs themselves, their construction and production, have a fantastic 90s grunge, punk-rock feel. The New Brunswick trio take reference points like Belly, Pixies, Mudhoney and make them into something very much their own. It has a modern stitch and makes for a comfortable listen. It doesn’t jar, it doesn’t feel forced; it just sounds natural.

And if the voice is the hook, the lyrics are the line. Clever and honest, words like “I wouldn’t be surprised if no-one wants to waste their time with me/I’m joyfully employed and normal” echo a feeling I’ve certainly experienced a few times while leaving the house in the morning. In Sheep they manage to address the issue of calling someone a massive slut in a totally new manner, “You’ll count sheep with anyone/Yeh, anyone will do” which is impressive to say the least.

In a way it makes me feel fourteen again, listening to Everclear in headphones and quietly thinking I hate my parents. But it’s so much more developed – the crunching guitars and the way they solo dance across the tracks, the dynamics that throw you back and forth into chorus and verse, and that vocal. I love that vocal.