The Shins
Heartworms

The rule of five continues for the Americans The Shins.

Five years separated the beautiful "Port Of Morrow" of 2012 from the previous (remarkable) "Wincing The Night Away," and now another five years to finally listen to the new "Heartworms," the fifth studio effort of the sextet led by the incredibly talented James Mercer (here also as a producer).

And this rule seems to pay off, as the new album does not disappoint: the pieces that anticipated it already hinted at another success for Mercer and company. "So Now What" (included in the soundtrack of "Wish I Was Here," Zach Braff's latest directorial effort) seemed to reconcile the American band with the pre-major sounds of their artistic path, but then the subsequent official singles "Dead Alive" and "Name For You" shuffled the deck again. The former is a beautiful piece with very Lennon-like content, while the latter is a rattling orgy of pop fascinations, appropriately chosen as the album's opener.

"Painting A Hole" (sublime) raises the bar further in a celestial triumph of claphands set on a simultaneously cumbersome and tribal rhythm (the latest Martin Gore must have smiled with satisfaction), while the subsequent "Cherry Hearts" is the most blatantly uptempo track on the album.

And then there are proto-country fascinations ("Mildenhall"), ballads with a rustic flavor ("Fantasy Island"), and a great piece like the title track, which takes us straight back to the times of "Wincing The Night Away." The fab four influences of "The Rubber Ballz" are indispensable, and it's incredible how Mercer resembles Bono (from the early days, not the plasticky one from "Pop" onwards) in the delightful indie folk coda of the closing "The Fear."

"Heartworms" is a great album, one of the best of this young 2017. An album that is focused, never banal yet never excessive, which wisely balances the many facets of The Shins and returns them to us absolutely on point. Fortunately.

Best track: "Painting A Hole"