The course of true originality never did run smooth. Masters of pop experimentation, Yeasayer have served some hits and misses in their time. Their second LP Odd Blood paved the way for their joyous, odd-pop style, whilst the more experimental Fragrant World failed to hit the mark. It's been a decade since they began and their offbeat sound remains nestled closely alongside fellow purveyors of psychedelia like Animal Collective and TV and the Radio.

Recorded at New York's Outlier Inn Studio in collaboration with Joey Waronker of Atoms for Peace, their fourth studio album is called Amen & Goodbye. Opener 'Daughters Of Cain' has a distinctly Beach Boys-esque feel. It's a lullaby that bleeds nicely into 'I Am Chemistry', a track that Yeasayer premiered at the beginning of the year. It was the Brooklyn band's first release in nearly three years and it doesn't really mark a significant departure from their previous records, filled with lilting harmonies and freaky electronics, not to mention a children's choir. It's a psychedelic-indie trip, at times sounding like a kids TV show on acid, albeit one exercised with sharp precision and flair.

The band continues its experimentation with electronics and vocal harmonies on this LP, deconstructing melodies and fusing disco-pop with African-influenced rhythms. Strong hooks and funky beats abound on the synth fuelled pop of 'Silly Me', and bongos bring the groove of the understated 'Gerson's Whistle' to life.

For the record's artwork, Yeasayer collaborated with renowned sculptor David Altmejd and they shared a fantastically surreal video for 'I Am Chemistry'; it all contributes to a vibrantly strong aesthetic. Yet this appears to be a band bursting with so many artistic ideas that sometimes the new record struggles to contain them all. Whilst there are some great songs, there are weaker moments too, including an irritating mix of naff brass and vocals on 'Dead Sea Scrolls'. Elsewhere, 'Child Prodigy' can only be described as an odd, neo-medieval interlude, if such a thing exists.

At times it all gets a bit much, and I couldn't help but think of the classic episode of The Mighty Boosh, where Vince and Howard set out on a journey across the desert - a band desperately 'searching for the new sound'. It's hard to decide if what Yeasayer have created with Amen & Goodbye is a case of pop genius, of if the result is a load of over the top, art-rock pretensions. It seems that whether Yeasayer are really the future sailors of experimental indie, still remains to be seen.