San Fran riff titans Thee Oh Sees preserve their prolific form with An Odd Entrances (a title which inflames my grammatical migraine), their second album in three months on the back of A Weird Exits (it’s honestly traumatic, why do they do this?), a Dungeons & Dragons concept album. Odd Entrances sustains their exponential divagation into the Warholian avant-garde that they most appositely signposted with 2013’s Floating Coffin, when their thirst for psychedelica trumped their garage rock sensibilities. Rambling synths, dissolute guitar hooks, and those indelibly entrancing twin drums, administrate yet another lungburst of interesting, satisfying, near-improvisational post-punk.

Skirting the antiquated adage that a band needs to be constantly reinventing themselves and convivially aspiring for novelty, Thees are comfortable mining invention from fluency. Wheeling away from the LSD extroversion of Weird Exits, Odd Entrances is often languorous, arousing a dragon-chasing Jim Morrison, or even Zeppelin during one their Tolkien-fetish phases (particularly resonant on the fantastical, flute-deploying ‘The Poem’). The prolonged trip of ‘You Will Find It Here’ is apropos – an insouciant hypnotism – that branches into the fluttering jazztronica of ‘Jammed Exit,’ while ‘Nervous Tech’ attains abstract concord between onomatopoeia and nominative determinism, embracing a trundling jitteriness that murmurs paranoiac agitation in sound and form. ‘Unwrap The Fiend’ is certainly the record’s most urgent song, John Dwyer’s trademarked uber-reverb rolling along compact mid-tempo drum sequences; a companion piece to Weird Exits’ instantly canonical ‘Ticklish Warrior’ in its wanton, delicious confidence.

For its lassitude and freeform showmanship, it’s adroitly, trimly assembled. Each track distinguishes itself through compiling deceptively intricate melody between the estranged synthesisers, tailored drumlines, and Dwyer’s multilingual facility with guitar dimensions. It’s not dissonance for its own sake, it’s harmoniously eloquent in its indifference. Equally, while it’s indubitably an ‘album’ album in its cumulative synergy, there’s enough singular instrumental and mechanical surprises spaced across its slim half-hour runtime to call attention to the charming ingenuity Thee’s invest in every chord change of their yield.

It’s more of the same, but when it’s this groovy, this killer, this consistently beguiling, that’s absolutely no bad thing.