Operator Please have created a superlative heaven for everything that’s fresh, invigorating and exciting with Yes Yes Vindictive.

Not bad for the second placed group in their school’s battle of the bands contest…

On the basis of this debut album, released in their native Australia in November 07, you have to wonder what the winning band were like – surely Angus Young wouldn’t be able to fool anyone with the school uniform at his age – as it truly does justify the hype that has whizzed around the group, who, at the time of writing are aged between 16 and 19 years of age.

Besides their youthful demeanour, the other main advantage that has set them out on a path seemingly filled with unbridled success is the additions of two classically trained artists in Sarah-Jane Gardiner and Taylor Henderson. Gardiner has taken her classical piano tutoring and adopted it to they keyboard, whilst Henderson has utilised her skills as a violinist to provide the final zest to the five-piece.

It’s almost possible to think of them as a counterweight for Panic At The Disco. Whilst the American lads get besieged by ‘emo’ tags and Renaissance trappings, the Australian’s approach things with an aggressive, attitude laden approach that sees them more at home within the punk fraternity than fly-by-night idealism.

They’ve also got a host of killer tunes to back things up too. Their single that got them worldwide recognition - Just A Song About Ping Pong – is here, complete with its “Cheater! Liar!” shout section, and recent release Get What You Want also accompanies things with a distinctly disco-punk rhythm section.

Arguably their best single released so far, Leave It Alone is placed as the penultimate song on the album, which turns out to be an inspired choice. The rousing chorus and fast fiddle action get under your skin like musical spies, before causing you to submit to this gem of a tune from within the chambers of your heart.

Fortunately, it doesn’t stop there either. In fact, it’s hard to begrudge any of the songs on paper, from Zero Zero’s surf soul vibe to Cringe’s double handclaps (an instant way to increase a song’s potential). The double-header of Terminal Disease and the title track’s abrasive nature compliment one another, but do enough to avoid diluted familiarity.

Only Ghost feels a little – ahem – transparent, but it’s the other four songs on here that are by far the most impressive overall. They carry on from Leave It Alone’s sentiment but branch off into different quarters, but importantly work to their strengths as a band to create pieces of work that sound larger than could’ve been perceived.

Two For My Seconds, on one hand cosies up to a showbiz cabaret style that uses the piano as its kingpin. 6/8 then uses the same blueprint but takes it down one of the back alleys on Vegas to show a darker underbelly to the seemingly bright and colourful tunes thus far.

It’s even possible for Other Song that’s lead by acoustic guitar to sound slightly No Doubt in their delicate Gwen Stefani mode, but it’s closer Pantomime that should take all the plaudits. It’s a typical ‘slow builder into rousing climax’ song, but it retains a composed nature, showing the band doing the equivalent of passing to a teammate with the goal at his mercy in football instead of going for glory.

It guarantees success, and shows that they’ve got a very level, mature head upon their young shoulders. Whilst the lyrics denounce the focus upon their age, looks and general complexities of the band and the youth of today, their songs are ones for all ages to enjoy – even the odd swear word that seeps through sounds like honest fun…