The Blood Arm have made an album that sets them apart from all their indie-rock competitors.

How? They’ve ditched the bass, and bought a keyboard instead. The results are pretty damn good too. Lie Lover Lie possesses the sexual swagger and hip gyrating genius that is now a regular scene at their live shows, as well as a quite surprising amount of spontaneity.

Opener Stay Put comes in with handclaps and some groin-thrusting, party-in-your-pants style riffage on the guitar, supplied by Zebastian Carlisle. The whole album comes across with a glorious musical feel to it, and as the song climaxes, you can imagine glitter cannons being fired to welcome the finale of Stay Put, and the intro to Accidental Soul. The bouncy number keeps the energy levels high, as Nathaniel Fregoso sings about Sylvia Plath and Fay Danaway over a soundtrack that could’ve been provided by Bloc Party or even their best mates Franz Ferdinand.

A few seconds of breathing time follow, before the pounding rhythm of Suspicious Character pounds into the frame. The chorus of “I like all the girls/And all the girls like me” really is as infectious as an STD in a brothel. As it continues to come up during the song, disco balls can be seen to be rotating all around the country in unison for this absolute stormer of a track.

Angela is reminiscent of a 1950’s film, complete with old school gangsters, pinstripe suits and trilby hats, but then clocks back a few years to wartime Britain, with its “Fa La La” chants, and singing-around-the-piano vibe.

The Chasers is a song that you can imagine being dragged onto the dancefloor at a wedding party for, with its simmering energy never letting off for the whole song, whilst Nathaniel lets you know that “Isn’t it nice/To know your vices”. The backing vocals with “Wo-ho-hoo’s” harp back to the Dandy Warhols’ fantastic hit, Bohemian Like You.

The old-style piano vibe is back again, with Going to Arizona. A simple gang sing-along and tambourine accompany the ebony and ivory, whilst a Spanish guitar plays a dreamlike tune near the end, to make this dreamlike song a standout track on the album.

There’s no time to hang around though, and we’re taken back up to ten in the energy stakes, with previously released Do I Have Your Attention. The drumbeats leave the handclaps for us this time, as we move onto Mass Murder, with its heavy dance floor beat, and snare that sounds like a Death From Above 1979 remix. Visionaires follows up as one of the only letdowns on the album, as it feels devoid of any real imagination.

The final two tracks leave the album on a high, with P.S. I Love You But I Don’t Miss You starting like a Starsky and Hutch style introduction, before the choppy, aggressive guitar fully takes over, and makes the song its own, whilst the keyboard still gives the track that uplifting, dance vibe.

Dolores Delivers A Glorious Death is a culmination of drums, keys and guitar working in perfect unison to create a stomping, high-kicking, top hat and cane style ending. While the chorus wails “I’m gunna pour myself some whiskey/I’m gunna pour myself some wine”, Dyan Valdes takes us back to the Wild West with some exemplary piano work.

As the curtain falls at the end of the show, The Blood Arm have done enough to secure themselves a decent run in the West End, and in our stereos. Bravo!