BRONCHO's 2014 breakout record, Just Enough Hip To Be Woman, was absolutely overflowing with savory hooks. From the salacious teenage thrust of 'NC-17' to the guitar-driven '80s pop of 'Class Historian,' the album had an earworm for any moment. (Seriously though, good luck getting 'Class Historian' out of your head if you choose to give it a listen.) With Double Vanity, the third LP from this foursome out of Norman, Okla., things have been slowed down, allowing for less immediate pop appeal but a satisfying and surprisingly atmospheric garage rock record.

The slow-tempo and dragging guitars of Double Vanity's first track, 'All Time,' sets the stage for the album's recurring sonic structure. Of the 11 tracks on the record, only 'New Karma' and 'Speed Demon' (which appear back-to-back) exceed 100 beats per minute. The majority of this effort is comprised of dirge-paced rhythms offset with beautifully spacey guitars that wouldn't sound out of place on a peak-era Cure album. If Just Enough Hip To Be Woman felt like a speed trip, Double Vanity is more like slowing things down on some opioids.

The album is not one that looks to veer all around the shop. If you heard the lovely lead single 'Fantasy Boys,' you will know what you are in for with this record. It all sounds as though the new wave sensibilities of The Cars merged with the lushness of the aforementioned Robert Smith-led outfit and arrived at BRONCHO. There are certainly hearty helpings of psych-rock and blues mixed in throughout, but BRONCHO still has a foot firmly in the sultry atmosphere of the 1980s.

The group's previous recordings were already laced with enough reverb to make the lyricism of vocalist Ryan Lindsey practically impenetrable. These past outings now seem positively clear by comparison to Double Vanity. Lindsey has always possessed a very unique sense of diction that seems to swerve between imaginative pronunciations (see: 'Fantasy Boys' pronounced as something resembling "fanacy boeys") and a clear lack of interest in enunciating. This isn't a knock, as I think his unique brand of singing, while certainly not for everyone, helps give the band a sleazy sexiness that undoubtedly amplifies their appeal. Still, BRONCHO seems to have double-downed on their effect of choice for Double Vanity, with each track sounding as though it has been recorded in the most cavernous garage in the world.

But with added space comes the ability to fill said space. The result is the most spacious set of songs BRONCHO has put down to date, packed carefully with seedy but beautiful textures and alluring little flourishes that carry the record a long way. Nathan Price's drums pack a hearty punch, while Penny Pitchlynn's bass carries the band's groove like a smoke cloud as Ben King's guitars seem to gaze at shoes and leer from across a hazy room.

Double Vanity has made BRONCHO a group that is difficult to peg. By slowing things down and thickening their sound, the band has found themselves straddling many different labels at once, thus reminding this writer that a label isn't the best way to describe a band and their work. Sometimes a couple words like "damn good" can suffice and with BRONCHO's Double Vanity, a better description likely couldn't be found.