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It's been four years in the making, but Tellison are finally back. Since the critically-acclaimed release of 'Contact! Contact!' back in 2007, it's all been a little quiet on the London quartet's front.

Has the wait been worth it all? Well, put simply, a resounding yes. Fans of the debut record will be pleased to hear that the band have continued from where they left off with a bang - catchy indie-pop jangles aplenty, 'Wages of Fear' is a triumphant return from the abyss.

Produced by Peter Miles - the man behind the likes of Frank Turner and the King Blues - there should be little doubt that the band's difficult return to prominence is an altogether more polished accomplishment.

Kicking off with the soft piano chords of ‘Get On', the track soon descends into force with its crashing cymbals and foot-tapping pop trademarks. Elements of doubt into lead singer Stephen Davidson's self-confidence are questioned with the line, "I picked up some moves in my youth and I'm scared that I've lost them". Don't worry Stephen - on this album's evidence, you haven't.

It's a reasonable opener, but it's bettered quickly by album highlight ‘Say Silence (Heaven & Earth)'. Fans of Contact! Contact! rejoice - brimming math-rock energy and dazzling enthusiasm, ‘Say Silence' is a rollercoaster of classic Tellison.

The melodic beauty of ‘Know Thy Foe' passes by neatly, before ‘Collarbone' blasts its way onto the scene with its killer kick drums and sharp guitar riffs. Grab a beer and light up the barbecue, this one should be making your summer playlist.

‘Freud Links the Teeth and the Heart' is a rare blemish on an otherwise excellent record, its bizarre heart-felt lyrics to a French dentist somewhat baffling to say the least. "I've got teeth problems, it hurts when I open my mouth, pain comes out" - Come on chaps you're better than that.

But no matter, redemption soon arrives with the epic ‘Horses'. The heavier instalments of Wages of Fear are its undoubted highlights, and this proves no exception. Its brazen guitar chords and thumping drums provide the perfect introduction to a slick bassline. It proves a dark side rarely heard from the band, but one that should prove instantaneously refreshing for listeners new or old.

The tribal ‘Tell It to the Thebes' kicks off with the delicate hum of lead guitar, before sparking into life with its crescendo of purring drums and scratching guitar riffs. There are plenty of layers to admire here, a dynamic achievement that may see this go down as one of the tracks of the year.

‘Letters From Pre-Med' is soaked in anthemic lyrics and power-pop credentials, while ‘Vermont' sees the third track of the album with vocals from lead guitarist Pete Phillips - a recognisable shift from its predecessor.

The elegantly catchy ‘Edith' drops by with a chorus destined to be a sure-fire hit, but Davidson's doubts flare up again with the line, "My life's like so much like a novel, it's hard to see the beauty in it sometimes".

Album finale ‘My Wife's Grave is in Paris' provides a beautiful ending to an excellent record, trading vigour for earnest emotions with great success. Building up spectacularly, it ensures Wages of Fear ends on a stunning high note.

Filled to the brim with fun, melody, sadness and sorrow, Tellison's second effort could well prove one of the year's finest offerings. Matured, refined and lyrically sharper, here's to this quartet breaking into the mainstream sooner rather than later. Just don't leave us waiting for another four years, boys.