Naming itself after the cult TV show is now both a pro and a con for the Chicago garage rockers of Twin Peaks. Forming in 2009, when a “Twin Peaks” revival seemed like wishful thinking at best, the band tapped into the familiarity of those two simple words, even though none of the youthful band members had ever seen the show—they just thought the name sounded cool. After all, they were just in high school and weren’t even alive when Laura Palmer died. But as the band drops its third album, Down in Heaven, news of the upcoming “Twin Peaks” reboot pushes it a lot further down in the search engine results. Then again, as band members admitted in an interview Spin, all the chatter about the TV show gets them some extra press.

Of course, Twin Peaks’ rowdy brand of music sounds nothing like Angelo Badalamenti’s haunting scores. Instead, its influence (at times bordering on appropriation) comes more from the British Invasion, especially a clear fondness for the Rolling Stones. Its sound also notably progressed as the bandmates (some of whom have known each other since elementary school) entered their early twenties. Gone is the DIY tin-can haze of its lightning quick 2013 debut Sunken. In Heaven, there’s also less of the raucous energy from 2014’s well-received Wild Onion. Perhaps that’s for the best, as hair-flipping guitarist and lead vocalist Cadien Lake James broke his leg touring for Onion and had to perform while sitting down—before Dave Grohl made that cool.

In some ways, Heaven’s more measured approach is a welcome change of pace. Tunes like “Butterfly” and “My Boys” show tighter production with a fluffier sound, both tracks rife with “bah-dah-bah”s and “ooo”s. In “Butterfly,” the album’s second single, James even directly references the band’s ‘60s appreciation with the fantastic lyric, “And when the Zombies started singin’ ‘bout the season/ You know your daddy got up to dance/ And it wasn’t for any other reason/ Than the feeling in his corduroy pants.” The song is made even more impressive by the fact it was penned by guitarist and vocalist Clay Frankel when he was in a “sickened state” at 2015’s SXSW after experiencing tour burnout.

Meanwhile, the chorus of “Wanted You” finds the vocals at their most Jagger-ish, while the guitar hook could’ve been pulled directly from the Seeds. There’s precious little of the unhinged energy behind Onion tracks like “Fade Away.” In its place are a greater level of sophistication and a maturing sense of artistry. The band’s preoccupations may still be the hedonism and melodrama inherent to youth, but it’s also clearly branching out. Twin Peaks has stepped up the fidelity and polish of its slower numbers, improving on Onion’s “Ordinary People” with a catchier and sweeter “You Don’t.” What we do get is more music in the vein of the previous album’s “Good Lovin’,” with all its jangly guitar, driving rhythm and snarling vocals.

Whereas Onion felt somewhat more uniform, Heaven shows more range. “Heavenly Showers” taps into country-tinged inflections with gently strummed guitar, organ, horns and harmonica. “Keep It Together” works itself into a smoky guitar groove that would fit well on a classic rock radio station blasting from a pickup. “Lolisa” veers toward a breezy psychedelia, and penultimate track “Stain” finds the band getting wistful (“Can’t help but piss all my youth down the well”) while bemoaning the unglamorous aspects of the grind behind pursuing the art form you love.

Down in Heaven doesn’t break new ground for the band, but it does avoid the pitfalls of treading over well-worn terrain. Those who don’t appreciate the bawdier aspects of the British invasion or garage punk may find more to latch onto in this increasingly sophisticated third effort. The band is more tethered here, but that’s largely a good thing. Its members may have randomly taken their name from a TV show they had never even seen before, but three albums deep the guys from Twin Peaks continue to make a name for themselves.

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