Though Matt Scottoline had already made a name for himself within the emo revival movement as the bassist in Everyone Everywhere, his has become the classic tale of a solo project becoming an actual band. Hurry’s current incarnation consists of drummer Rob DeCarolis and bassist Joe DeCarolis—cousins respectively known for their work in David Bowie-inspired power poppers Univox and gothy noise-gazers Psychic Teens—making for a cleaner, more streamlined sound as compared to their past exploits in noisy garage rock.

Every Little Thought sees the trio trim their music to its essentials, which results in their best material to date. Though the band’s name derives from Scottoline’s songwriting mentality, this album reflects efforts to present the most well-rounded material possible.

The opening title track’s opening flanger guitar strumming and mid-tempo drum pulse exude this increased attention to detail, with intentional arpeggiations and tight rhythm changes providing the perfect backdrop for harmonious vocal refrains. Catchy without pandering and spacious in its simplicity, this track’s soothing aura and sticky hook set the tone for a wall-to-wall charm listening experience harkening back to the greats of the British invasion in service of contemporary pop-rock flavors.

“Read Between The Lines” maintains momentum with upbeat dream pop, as Matt’s guitar leads intermingle with his singing. In fact, his instrumental input always integrates into song structures, never as a crutch, to keep the song interesting.

This seamless musicality also manifests in “On The Streets,” another danceable banger made irresistible through infectious repetition and smooth transitions. Every drum fill feels as purposeful as the last, just like every bassline and guitar riff bursts with aesthetic allure. Although certainly straightforward in nature, Hurry’s thoughtful approach will surely keep listeners humming the songs long after they end.

Incredible chemistry between all three musicians continuously elevates Every Little Thought above a sea of similar projects, allowing them to avoid self-important posturing in favor of relatable tales of everyday life.

Angelic vocal register jumps and ascending guitar phrasing on “Waiting for You” allow Matt to cleverly appraise a shut-in who he longs to interact with, just as “Jamie” spotlights the band avoiding pretensions within a cheesy ode to relationship drama. These cuts stand out for how they were written, not necessarily for their sound or production.

The jangling acoustic strumming and melodic interplay in “Heatwave” spotlights the consistent foundational guitar tone gelling songs to one another without overt conceptual connection, give or take a bit of distortion to give certain parts more kick.

While “Hanging On” could easily become a filler track, it sports a feel all its own thanks to background tambourine additions and aquatic effects pedal manipulations. Similarly, “Separated” implements synchronized band hits to energize its more straightforward feel. Even though no songs drift from the album’s established indie-rock format, their nuances keep Every Little Thought interesting from start to finish.

Joe takes modulative precedence, while Matt handles more rhythm in “Time and Time Again,” as Rob’s perfectly placed cymbal switches accentuate each section. Hurry uses their arrangements to further emotion rather than to fill space, but their organized execution is undeniable.

This compositional forethought is what makes “The One I Want” such a fitting closer. Bass again leads monophonic guitars as the tactful reservation of the band’s volume is definitively revealed, in that this cut ends the album with a convincing finale without having to indulge too far beyond their stylistic parameters.

In short, these songs have nothing to hide because those who wrote them understand what makes this style click. Every Little Thought shows that one does not have to push boundaries in order to make a memorably compelling album.

Follow writer Max Heilman at Twitter.com/madmaxx1995.