There is nothing aloof about deathcrash’s brand of alt-rock. A lyrical heart and soaring, pop-minded sense of songwriting cut influences culled from the universe of underground rock and orient Somersaults, the band’s third studio record, towards the land of big festival stages and crowd singalongs. Existing in the wide chasm between early Coldplay and Red House Painters, maybe more conceptually than literally, the record is crowd-pleasing and heavy in equal measure. Ten years deep into the game, the band’s mastery of the form they have created for themselves is evident; if we may engage in a bit more comps, album closer “Marie’s Last Dance” goes down like the Hefner and Mogwai collaboration that a very specific John Peel listener always wished for but never got.