Three albums in, Art Brut have become a known quantity. It’s pretty safe to say that they aren’t going to surprise you with forays into dub or psych-folk anytime soon, but that’s probably for the best. Even if they’re dishing out slices of the same ol’pie, Art Brut vs. Satan is solid and it improves with successive listens. The band still churn out pop-punk influenced Brit-pop ditties (with production from Frank Black, under the Black Francis moniker) and Eddie Argos is still the life of the party, throwing out instantly quotable lines with the speed of a lyrically nimble rapper. Some of the topics he covers are public transportation (“The Passenger”), the fun and eventual regret of drunken antics (“Alcoholics Unanimous”, “What A Rush” and “Mysterious Bruises”), and the simple joys of childhood (“DC Comics and Chocolate Milkshake”) . On a triptych of songs where Argos lets loose a venomous attack on the music industry (“Demons Out”, “Slap Dash For No Cash”, and “The Replacements”), he comes across like a modern-day Upton Sinclair leaving comments on an NME message board, rallying against the record-buying public’s fickle tastes, lambasting bands who try to sound like U2, and then gushing over the virtues of The Replacements. Perhaps the music occasionally seems tossed off (a topic they cover themselves on “Slap Dash For No Cash”) and the conversational tone of Argos vocals lead you to believe he’s not trying very hard, but the reality is Art Brut have put out three good albums in three years with no signs of slowing down.