When everyone’s trying to get on the cutting edge, sometimes the most kickass thing you can do is to go the other way. Mikal Cronin probably made his name playing bass in the heavy, scungey, fuzzy, badass, clinically awesome Ty Segall Band playing bass and singing backup. The dude can rock out with the best of them, but just like Segall himself, there’s a restless pop-rocker ready to burst. Cronin’s three solo albums, Mikal Cronin, MCII & MCIII, are defined by the kind of hook-laded, sweet yet loaded with riffage, tune-age that hasn’t really clogged the mainstream since the 90s. The lovely, nostalgic 90s…

Think of the more radio-friendly moments from a band like Pavement, that’s what we’re talking about. Cronin’s self-titled debut had a few songs that teased this but it was his stunning debut for Merge Records, MCII, that announced Cronin as something special. Gone was the psychedelia, the riffs remained only they were kept within the realms of decency now. Fuzz toned down. And what emerged was a series of 20-something slacker anthems. Big questions with no answers but who cares coz this song rocks! Cronin can go as hard as his buddy Segall but with that 2013 release he proved he has the same great ear for a melody too. And Segall, for all his many wonders and experiments, has never made an album quite that refined.

MCIII suffers only in comparison to MCII. The songs aren’t quuuite as good, but he’s branched himself out in terms of experimentation. That all seems to come from a place of confidence, too, where he’s established a sound and now he’s anxious to build on it. Whatever profit came from the last album, that money’s been spent on doubling the string section. Opener ‘Turn Around’ rocks almost as hard in the violin section as it does in the guitars (and has a wicked good video, a shot for shot remake of Natalie Imbruglia’s ‘Torn’ starring Kristen Schaal among others). A couple tracks seem built almost completely around the strings.

But this is still a loud album. Many a guitar string will have needed replacing with the relentless strumming on offer. Yet the production is almost glittering, the harmonies twinkling. It’d be cool if the vocals were pushed more to the top – Cronin has a fine voice – but that seems deliberate. Every song has a groove that it needs to be hit. And although the lyrics are far from throwaways, they’re not exactly Dylan-esque either, so maybe that’s just not a priority. But the more intricate production (not so much in sound as in integrating the added ideas) does cost MCIII a bit in terms of immediacy. There are a few tracks that have a proper charge to them (‘Turn Around’, ‘Ready’ and ‘Feel Like’ are up there) but nothing that smacks you in the face the way that some of the songs on MCII did. The changes of pace aren’t quite as happily jarring either. There’s nothing that’ll challenge ‘Peace of Mind’ in the simple, acoustic balladry side of things, and although he tries his best with the chambery, swelling strings of ‘Different’, it’s not quite on the level of the gorgeous closer ‘Piano Mantra’ of MCII.

Except that’s all to compare it to his last album again. Which is pretty unfair. Who else can write such a bunch of catchy tunes with this kind of joyous ennui (that’s gotta be an oxymoron)?

“If this is just a moment in a flow / Be here with me until that moment goes / Here it goes…”

The back half of the album is arranged as a six-song suite… for some reason. It’s not really a different experience, nor do those songs seem particularly linked – no more so than the rest anyway. It sounds like it was the remnants of a more autobiographical concept album based on interviews, but his songs are pretty universal anyway so that all gets lost in the brush strokes somewhere. Not that it takes anything away from the record, and it’s a pretty cool way to think about it – side one and side two, the sort of vinyl arrangements that get lost in the digital age. The suite side is probably the better side, in fact.

Cronin, who plays most of the instruments here, saves room for the odd ripping solo too, the second half of ‘Made My Mind Up’ really soars. And he does the light and dark thing so well, bringing a song almost to a hush before launching into a triumphant chorus. ‘Control’ and ‘I’ve Been Loved’ begin with acoustic intros that sound vaguely reminiscent and completely fresh at the same time. The sparse piano notes that shimmer on ‘Circle’ bring out a hopefulness that isn’t always there on the ten tracks that precede it. This dude’s got plenty of tricks up his sleeve.

Basically every review you read of MCIII is gonna compare it to its predecessor. Yet to Cronin’s credit, he’s not trying to write some companion piece, he’s taking what he did and trying to advance it, exploring new ideas and instrumentation. Too many people would have tried to shoot for the moon again, Cronin just amps up the ambition factor a few levels. There are two things you can expect of these San Franciscan garage rockers, one is that they never rest on their laurels and two is that they’re always coming up with new and fantastic rock and roll records. There’s bound to be a new White Fence or Ty Segall album out soon, and the sooner MCIV appears the better.

Wildcard’s Verdict: Another glimmering beauty of a record from Mikal Cronin, full of doubtful lyrics, loud guitars and irresistible hooks. What he sacrifices in immediacy he almost makes up for in ambition and almost is close enough.

Top Tracks: ‘Turn Around’, ‘Control’ & ‘Ready’.