The more polished production, including a mix by former Chicagoan Brad Wood, brings the band out of the garage and into the arena, at least sonically. As a result, some of the shaggy verve of old has been sacrificed, and the latter half of the album lacks the emotional specificity of Alex’s best work. A few quieter acoustic tracks, augmented by understated strings and horns, echo the singer’s work in his alter-ego project, Quiet Slang, and provide some welcome textural variety. The segue from the contemplative “Nobody Say Nothing” into “Nowhere Bus” resonates more loudly than just about anything else on the album.