TO say Jamie T soundtracked a generation may at first seem incredibly hyperbolic. However, if you take a look back at #indieamnesty, this year’s nostalgia phenomenon, the hashtag is clogged up with countless allusions to the anthems – ‘Sheila’, ‘Sticks n Stones’, ‘Chaka Demus’ – that carried angsty adolescents in ripped fishnets and drainpipes through pretentious cigarette-smoking and end-of-the-world breakups.

The youthful vulnerability of Panic Prevention (2007) and Kings and Queens (2009) evolved into a bitter, desolate maturity on 2013’s Mercury-nominated Carry on the Grudge, though he maintained his reputation for creating poppy, mostpit-ready singalongs like ‘Zombie’ and ‘Rabbit Hole’.

His fourth LP, Trick, is undoubtedly his most varied record, as he builds upon its predecessor, experimenting with samples  and carrying a rawer edge. Lyrically, as ever, it is inherently relatable, even at its most abstract, and captures a contrast between forceful frustration on earlier tracks and an insular tempestuousness later on.

Opener and lead single, ‘Tinfoil Boy’, introduces the album’s dark overtone before abruptly exploding into captivating heavy, hedonistic rock.

Jamie T’s irritation with society’s evils, surveillance, corruption and propaganda, is put forward on ‘Drone Strike’ and ‘Police Tapes’. On the latter, he seems to draw on the success of recent punk rock bands such as Slaves, Fat White Family and Royal Blood; the distorted, bulky bass riff carries through alongside smashing percussion, as Treays bellows repeatedly: “I’ve never felt so low”.

With its punky, up-beat rhythm, jangly guitar riffs and anthemic chorus, ‘Tescoland‘ is perhaps most reminiscent of the exuberant sound that initially introduced him.

In fact, there is a clear longing for former years on ‘Joan of Arc’ with its simple guitar progression making room for the nostalgia of young love, singing “Those days are long gone now, she still looks back… It’s funny how you never give a fuck when you’re twenty.”

This air of nostalgia becomes somewhat emotional later on ‘Sign of the Times’, with its overwhelming self-deprecation mimicked by a solo, distorted guitar behind Treays’ saddened vocals. Closing with ‘Self Esteem’, this isolation is echoed as the build up of spoken samples and subtle instrumentals draws the LP to a close with a fuzzy confusion.

Trick is undoubtedly Jamie T’s most varied record, as he weaves together everything from the influence of grime to the abrasive rock of Rage Against the Machine, whilst also making clear nods to his indie foundations. The attachments we have to Jamie T’s earlier records exists because they were honest and relatable, which can certainly be said about Trick. Objectively, it’s his best yet.

Trick is out on 2nd September via Virgin EMI. Jamie T plays Glasgow’s O2 Academy on 17th October.