La Isla Bonita

celebrated their 20th anniversary with the release of , another fine example of how the band changes course on almost every album. Like and before it, is another concentrated burst of whimsy. It's a format that suits , as well as this album's inspiration, . The cover of "Pinhead" they played during rehearsals shaped the album's approach, and in many ways, this is 's version of garage rock (or technically, basement rock -- the band bashed out in 's basement in a week). The influence is clearest on "Exit Only"'s blitzkrieg riffs and bratty beats, though lyrics like "welcome to speech of freedom" are through and through. Elsewhere, they reconfigure punk's guitar-bass-drums approach into fascinating interplay. 's guitars are more active than they've been in some time: "Tiny Bubbles" alone ranges from surf-lounge to intricate, knotty passages and tight, disco-inspired rhythms, while the pair's work on "Big House Waltz" is dense and spacious at the same time. It's a big shift from 's fractured electropop -- indeed, there's a surprisingly funky groove behind the winning "Paradise Girls," an homage to "smart girls" who "play bass guitar" with a riff reminiscent of ' "Love Rollercoaster," and "Oh Bummer," which boasts a taut rhythm section that evokes 's "Billie Jean." Elsewhere, play off their own history as much as any of their other influences: "Doom," a fuzzy rocker that's more charming than storming, could've appeared on one of their early-2000s albums along with the appealingly herky-jerky "Last Fad," while "Mirror Monster" puts their often-neglected serene side in the spotlight. Even on these songs, it feels more like are coming full circle than looking back; that they've been able to put different but cohesive spins on their sound so well, and for so long, is truly remarkable. ~ Heather Phares