But despite the brazen fixations, it’d be a lie to say this isn’t a positive listening experience. Album opener “Alice Springs” doesn’t miss a step, gradually amping up and throwing tense, muscular riffs and anthemic “whoa-oooah-aaa-oahh”s all over the place. “Melt” is a pleasing evolution; it melds spiraling keys and a drum machine to the band’s trademark hooky indie pop-rock, tossing an odd ’50s pop chorus into the mix, and applying a scuffed layer of fuzz and distortion to the final minute. Even the most “smooth hits” of Serotonin’s songs deliver the single-serve sized pleasures of well-written AOR radio. “The Girl Is Gone” could well be Icehouse by way of Eddie Money. “Waiting on a Miracle” might be the disc’s best track, riding a propulsive rhythm, almost sitar-like guitar bits and wistful, honest vocals to a soaring, scraping, cacophonous finale. It’s four minutes that hit with a strength you wish the entire LP possessed.