It's been 4 years since Neon Indian's last full-length, Era Extraña, was released, where Alan Polomo took on a more serious tone than his ultra lo-fi, cheery debut, Psychic Chasms. Now, with the October 16th arrival of VEGA INTL. Night School, Polomo has found a balance that reaches an artistic level that surpasses both of his previous releases. The first track , "Hit Parade", is more of an intro than an actual song. It starts off with what sounds like the hum of an old CRT television before turning into what can be described as a sort of fanfare, which is fitting, considering the gap between this album and the previous album. The first song, which is also the first single, is "Annie", which is probably the most conventional song on here. This is some pretty euphoric pop music, a welcome change of pace from the veritable depression on Era Extraña. [caption id="attachment_197" align="aligncenter" width="300"] "Annie"[/caption]   After this song, we get to music that is definitely more reminiscent of early Neon Indian. The song "Street Level" sounds like a normal piece of pop music that was thrown into a washing machine. The groove of this song is fantastic, and the vocals are wonderful. The chorus here is one of the most exciting things I've heard in a while. It seems a bit soon to say it, but this might be my favorite song on the album. Following this is another weird little song: "Smut!". The song's unpredictable and manipulated vocals give this song a strange momentum that keeps the listener hooked. After this comes another short instrumental piece entitled "Bozo". Can't say much about this one, other than it's short, and it's is definitely sweet. Up next is "The Glitzy Hive". The vocals and production here have more of a lo-fi feeling to them, and give off a sort of Ariel Pink vibe, at least for me. It has a real danceable groove, and some really nice, squealing synthesizers. Next is "Dear Skorpio Magazine", a more conventional song than the previous songs here, but still with some weird little lyrical and musical touches. From this point on, I would describe the rest of the album as Side B, considering how the previous track fades out, and how the beginning of "Slumlord" sounds. This song was the other single released for this album, and it is definitely single material; it's is a bona fide dancefloor song. It is almost impossible not to be taken in by the rhythm of the beat and the soaring vocals. The song also definitely has a darker tone to it; there's something a bit more nocturnal to this song than the previous half of the album. [caption id="attachment_196" align="aligncenter" width="300"] "Slumlord"[/caption]   "Slumlord's Re-lease" continues the song where it left off, and builds on it a bit further, with more intense instrumentation, which is a bit reminiscent of synthwave music. After this song, "Techno Clique" begins. This song feels much more sinister than anything else on the album so far. It's weird, low-harmonized vocals are a slight bit eerie. As such, it fits perfectly with the next song, "Baby's Eyes", the longest track here. With much more stripped-back production than the rest, you would think that this song is giving you a chance to breathe after the onslaught of the last few songs. While this song is slower, there's something about it that just doesn't give you a chance to stop. The slow, lumbering bassline is unsettling, and the soulful vocals are more than enough to keep you wondering about what exactly is happening in this song. Things lighten up a bit after "Baby's Eyes". "C'est la vie (Say the Casualties!)" is like the sunrise after a long, frightening, but exhilarating, night. The more lo-fi production returns here, and the bouncy, bright vocals are a great beginning to the last lap of the album. It's not a totally straightforward song, however, as it shifts to an entirely new rhythm about halfway through. Alan Polomo won't let you rest for even a second. "61 Cygni Ave" starts with a really funky bass rhythm, and continues with more wispy vocals from Polomo. The vocals go through varying levels of digital manipulation, which work to keep a continued sense of tension running throughout the song. The final, triumphant cry of the album comes in the song "News From the Sun (Live Bootleg)". While it isn't actually being recorded in a live setting, it still has all the life and energy of a live recording. The chorus here is one of the most wonderful things on the whole album. This album takes the best elements from both of the previous two albums and combines them to create something both fun and slightly off-kilter. Alan Polomo has created a true entryway into the weird world of Neon Indian, and has also come out with his strongest offering yet. Fans will be delighted with this release, as well as anyone who listens to the album. The way it seems, this is going to be one of the strongest offerings this year. Grade: 9/10