Panda Bear’s latest album blends sly deception with melodic allure, wistfulness, and a boundless experimental spirit. Mirroring Van Dyke Parks’ ‘Song Cycle,’ which wove bluegrass, orchestral surprises, and theatrical flair into discussions of fading trends, Noah Lennox reframes ten rock tracks with reggae, dub, ghostly echoes, sustained tones, open chords, vintage pop distillation, and muted ska inflections.

Though this new collection contains Lennox’s strongest material since ‘My Girls,’ nothing feels repurposed. A trio of songs—“Just as Well,” “Ferry Lady,” “Venom’s In”—illuminates fresh ground in Lennox’s craft, and much more grounded than much of his prior work, built on crisp, classic rock structures, lively energy, and fewer overt experiments.

The involvement of his Animal Collective bandmates—Deakin on co-production and keys, Avey Tare on noise, Geologist on “sounds”—marks the first time all appear on a Panda Bear solo release, deepening it’s texture. Standout ‘Ends Meet‘ also includes vocals from Maria Reis and Lennox’s partner, Rivka Ravede. While hints of reggae fusion surface, they’re often enveloped by the same radiant pop that drives another highlight, ‘Ferry Lady.’

‘Ferry Lady‘ itself briefly echoes the breezy pop, unfolding into synth brass, airy beats, and fluid samples. The collaboration between Lennox and Deakin yields playful, meandering patterns, bubbly vocals, and layered phrases. These songs feel fuller than the sparse ‘Buoys’; Lennox’s delivery on ‘Just as Well‘ nearly turns to yodeling, while the somber spirals of ‘Left in the Cold‘ dissolve into the spacious, six-minute drift of ‘Elegy for Noah Lou,’ which itself fractures into field recordings and hushed drones.

This album is no simple reflection—it’s a layered puzzle for studio devotees. The attention to sonic detail, the layers of buried messaging, all culminating into a sparkling, beautiful pop record.