In 2011, genre-shattering rockers put a fractured spin on pop with , returning later in the year with the wild experimentation of . A year later, lands somewhere in between, combining those aesthetics while bounding forward with new ideas and influences. Produced by , who's been at the band's side since 2008's , is as warm as have ever sounded -- a particularly stark contrast to the raw, live mood of -- which reflects the sense of restraint (by their standards, anyway) and maturity that permeates the record even in its heaviest moments. On that heavier side, the title track and album centerpiece (for devotees, it's almost a sequel to the song "Putrifiers" from his mid-aughts distortion-drenched band ) bounces back and forth between hippy-dippy vocals and corrosive guitar chugging, giving way to a synth/noise jam session outro, while the crunchy, motorik "Lupine Dominus" whizzes with freakiness and -style paranoia. But really shines with the tracks that show 's increasingly melodic ear and the many forms it takes, making the connection from -y strut to rhythm ("Flood's New Light") and laid-back fuzz-pop to AM gold ("Hang a Picture"), as well as conjuring halcyon -meets- vibes ("Goodnight Baby") and idyllic symphonies in miniature ("Wicked Park"). On the more experimental side, the droning raga-like "So Nice" gives the feel of ' spin on "Venus in Furs" and "Tomorrow Never Knows," and "Will We Be Scared?" has the eerie, nostalgic swoon of and . With so many contrasting ideas mingling on one album, suffers in terms of overall cohesiveness, but longtime fans will feel rewarded in hearing the band simultaneously honing what it does best and pushing its boundaries. Incidentally, for this reason it's also a great introduction for newer listeners. After 15 years and over a dozen albums, is part snapshot and part look into the crystal ball, showing and company's ever-changing approach to songwriting and musicianship, and further cementing ' status as one of the most liberated, vital bands in indie rock. ~ Chrysta Cherrie