“The Shins… You gotta hear this. It’ll change your life,” claims Natalie Portman’s character Sam in the indie favorite “Garden State.” Little did The Shins — nor the unsuspecting public — realize that this harmless statement would skyrocket the band to indie-pop fame. Almost overnight, it seemed that these Albuquerque, N.M., art-rockers’ small cult following exploded into an international fan base. The Shins’ current widespread popularity, however, shouldn’t just be attributed to Portman’s claim; they have the talent to back their success. Constantly evolving, this artsy group transitioned from their origin as lo-fi group Flake Music, to the echoing soundscapes of Oh, Inverted World, their first official album as The Shins, to 2003’s '60s sunshine pop-infused Chutes Too Narrow. By incorporating more synthesized tones and distorted guitar work, The Shins’ sound continues to evolve on the long-awaited Wincing the Night Away. Inspired by frontman James Mercer’s problems with insomnia, Wincing the Night Away recounts the thoughts and emotions experienced during many a lonesome, sleepless night. As with Oh, Inverted World, the boys turned to an herbal form of inspiration to compose this album. According to Mercer, the band got high during the songwriting process in order to return to the same laidback feeling that marked the 2001 album. No matter how they got their inspiration, The Shins benefit from their muse, creating their most daring album yet. Wincing the Night Away opens with the calming track “Sleeping Lessons,” and it’s the perfect antidote for those sleepless nights. Although this album intro isn’t exactly the traditional, catchy tune most artists opt for as an opening track, “Sleeping Lessons” sets a mellow tone that perfectly matches the rest of the album. This soothing track begins with a chorus of cascading, synthesized bells that practically renders Mercer’s distorted vocals inaudible. As it progresses to include percussion and guitar work, it doesn’t take long for Mercer’s siren-like vocals to soar above the instrumentals, showcasing the group’s complicated, heartfelt lyrics. When The Shins do keep the lyrics simple, however, good things come of it. “Turn On Me” features none of the lyrical complexity that abounds on the album, and emerges as the album’s best track. In the mellow tune, Mercer recalls the past in a bittersweet mood as he sings ” … you had to know that I was fond of you/ Fond of y-o-u,” one of the simplest but most memorable lyrics on the album. The Shins keep instrumental variation to a minimum in this track, but it works to their advantage, as the straightforward guitar and percussion work highlight the track’s Beach Boys-style retro charm and Mercer’s honest, expertly delivered vocals. It’s quite obvious on this album that The Shins’ best work is done when they lean heavily on their '60s pop influences. Similar to “Turn On Me,” the already-popular single “Phantom Limb” features simple instrumental lines, including a perfect mix of bass and percussion riffs that results in a clean, pulsing interplay between the two instruments. A chorus of old-school “oohs” brings this track to its climax, recalling the polyphonic sounds of The New Pornographers as Mercer and others sing over the tambourine and the distinctive keyboard tones. The Shins take the biggest risk when they return to their lo-fi beginnings on the track “Sea Legs.” The synthesized electro-clap and upright bass intro pave the way for an enjoyable verse line, with Mercer singing “I invest in a single lie/ The choice is yours to be loved,” a surprisingly heavy message for such a mellow tune. With its vocally and instrumentally dissonant chorus, this tune proves that the risk was worth taking, even if they did stray from the '60s pop. All things in moderation, however, as The Shins take the synthetic tones one step too far on “Red Rabbits.” The cartoonish sounds distract from Mercer’s unique vocals, not to mention the fact that the jack-in-the-box sounds are just downright annoying. Only after the bells and blips are blended with other instruments is this song finally bearable. To be fair, The Shins aren’t afraid to take a risk in their music. Very few artists today use the words “conundrum” or “lattice” in their lyrics, and even fewer would choose to have a promo picture taken in unflattering life vests. These risks produce mixed results on their most recent album, though. They confuse noise with music on some tracks, but otherwise The Shins present charming pop tunes based on quirky lyrics in a pleasant return to a more lo-fi sound. Not quite life-changing, but good nonetheless. Grade: 3.5 out of 5