With their fondness for simplistic rhymes and repetitive cheerleader chants, Brooklyn DIY pop-punk duo Matt and Kim have never been renowned for their remarkable way with words. With such ‘moon in June’ couplets as “I sat all alone/outside of your home,” their fourth studio album, Lightning, is yet again unlikely to have Bob Dylan quaking in his boots. But as proven with ubiquitous 2009 breakthrough single, “Daylight,” their lyrical naivety is still capable of packing a punch. Here’s a look at five of the best lyrics from the unashamedly nerdy duo’s new record:

Let’s Go

Featuring the astonishing trickery of streetball legend Pat The Roc, the promo video for lead single “Let’s Go” may have already racked up half a million hits. But with references to “shouting out of my windows” and “standing on the top of a parking lot,” the song’s declaration of some sort was tailor made for a recreation of the John Cusack boombox scene in Say Anything. Arguably one of the most immediate tracks of their career, the jaunty piano-pop number could just have easily escaped from the soundtrack to a late 80s Brat Pack film too: [LISTEN]

I’m Standing on the top
Of a parking lot
I gave it all I had
Show me what you got

Now

Reflecting the urgency of its title, “Now” appears to be an intense and impassioned rally cry about taking control of your own destiny, a theme which effectively runs throughout the entire album. Typical of their hyperactive and restless nature, its effervescent techno-rock then drops a falling bomb effect just before the chorus before exploding into a defiant and rabble-rousing chant of ‘Now’ which suggests that underneath Johnson’s geeky exterior, there’s an old-school rebel waiting to get out: [LISTEN]

I know that things aren’t perfect
Sick and a little nervous
Knives tend to get dull and round
So let’s cut this whole building down

Not That Bad

Proving that the pair don’t exactly deal in straight-forward love songs, “Not That Bad” is a deceptively creepy tale of a stalker-like figure attempting to persuade the object of his affections that he isn’t as worthless as they think. The playful verses, all gliding piano scales and muted military beats initially hint we’re in cosy sitcom territory. But as the doom-laden desperately pleading chorus kicks in, it becomes obvious that the situation may be about to take a sinister turn: [LISTEN]

Your watch looks the same
But times they have changed
All hands pointing up
Broken and repaved
These streets have been saved
They’re painted with luck

Much Too Late

A rather schizophrenic ‘Fuck You’ diatribe, Johnson continues to revel in being the outsider as he spits venom and plots revenge against his tormentors over an array of skittering electronic bleeps, frenetic beats and stinging The Strokes-esque riffs, only to be hit with a sudden bout of self-awareness that makes him realise that actually, everything is all his fault anyway. Like reading a diary entry from a particularly angst-ridden high school teenager, albeit one set to a contrastingly upbeat garage-rock soundtrack: [LISTEN]

You think
I’m some little phoney
Thing is
You don’t fucking know me
Take, take it from me

I Said

Indicative of the ‘you and me versus the world’ attitude that dominates the record, “I Said” begins with a clever telecommunications-based metaphor accompanied, rather appropriately, by some juddering one-note synths similar to the old internet dial-up connection tone. A quirky attempt to jump aboard the dubstep bandwagon, it’s not exactly in the same ball park as Skrillex’s monstrous fratboy-friendly anthems, but nevertheless, offers a welcome bit of respite from the two relentlessly energetic numbers it’s sandwiched in-between: [LISTEN]

I made the calls in my life, you see
Now the phone lines are down
But together, just you and me
Can rewire this town