It's their fourth album, so why not call it 4 indeed? The core of Kate Biggar and Wayne Rogers come rampaging back with this effort, showing once again that their aesthetic -- which could more or less be a variant of Motörhead's 'everything louder than everything else' approach, if not always as fast -- remains happily intact. Consisting of two short and two long tracks in alternation, 4 starts off with something close to a pop song, if only because "How to Be" has some attractively downbeat singing and a slow but hummable melody that builds into a downright winsome midsong break. Similarly "All or Half the Time," with a bit more speed going in its verses, has a nicely low-key way around vocal hooks and trippy imagery, acting as an anchor. Both, however, kick off with monster riffs and contain solos that sound like the guitars are melting from the heat, so in that respect, not much changes and not much has to. The two long tracks, meanwhile, contain more of the open-ended rampage-into-jam which has made the group's name live -- if they have to be experienced at a show for the full impact, the albums do their best. "Song for Turner," after an introductory section, launches into a full-on exultant orgy of soloing over a steady rhythm jam before a sudden switch at six-minutes-in leads to switching between monster riff stomping and percussionless feedback drones; finally leading into a return to the solo/jam combination. "Phantom #1," in contrast, starts with five minutes of extended minimal droning and occasional cymbal clashes, then shifts into as perfect a meta-'60s into-'70s psych/space rock full-band 'take a trip' head-nodder of a jam as one could expect -- steady rumbling drums shifting up in speed over time, groovily moody basslines and, but of course, extreme soloing.