It's sad to suggest that Quasi, the long-running band formed by Portland Oregon musicians Sam Coomes and Janet Weiss, have made less waves in the music world than the other bands and musicians they have worked with over the years. However, when you consider that Sam founded Heatmiser in the early 1990s with Elliott Smith, and frequently played bass in his band after that, and Janet has a reputation as one of the finest drummers in indie-rock as a member of acts such as Sleater-Kinney, the Jicks and Wild Flag, it's hard to not think of Quasi as a project rolling along on in the background.

Perhaps as a reaction to this, Quasi have decided to celebrate their twentieth year as a duo with a brand new double album, Mole City, which not only ranks amongst their best work, but also comes with a anniversary fanzine full of writings and photos from Jon Spencer, the aforementioned Sleater-Kinney, and Sam and Janet themselves.

Mole City is very much a double album though, and with 24 pieces over the course of an hour it has the feel of a band in overdrive, keen to release all their ideas at once. Some of these tracks are short bursts of experimental noise ('Chrome Duck', 'Loopy', 'Beyond the Return of the Son of Nowhere') but overall traditional song-writing dominates.

After a few seconds of untitled organ noodling, the fuzz bass of 'You Can Stay But You Gotta Go' introduces a song which could be a rock anthem in a parallel universe where they don't mind minute long noise freak outs as a coda. 'Blasted' is another fun rocky tune, whilst 'Double Deuce' and 'Gnut' remind us that they can hold their own with bands such as Guided By Voices and Sebadoh.

'RIP' breaks away from their normal sound and features some delicate guitar and Janet on lead vocals, whilst 'Chumps of Chance' is a moodier piece with a distant organ in the background.

What sets Quasi apart from those more familiar indie-rockers is their penchant for working within the boundaries of conventional song. 'See You On Mars' has shifting tempos and a melody line worthy of their late friend Elliott Smith, 'Geraldine' features noodling guitars and a reverb heavy vocal which could be from the late '60s, and 'Dust of the Sun' is a slower drifting piece touching on dreamy blues.

As well as that though, some of these songs sound as if they are based around, for want of a better word, a sing-a-long. 'Fat Fanny Land' comes across as a skewed version of the Band, 'The Goat' and 'the Dying Man' could be a played by a rambling pianist in a pub, and 'An Ice Cube in the Sun' reminds me of someone like Ben Folds.

I always felt that Quasi had their thunder stolen by other duos that came after them and were stylistically similar, such as The White Stripes and the Fiery Furnaces. In making a statement by underlining Mole City as their twentieth anniversary release, and by cramming it full of good tunes, it's as if they are re-asserting themselves again.