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**Warpaint - Heads Up**
★★★½

While Warpaint's self-titled 2014 effort remains their creative pinnacle—a masterclass in atmospheric post-punk that perfectly balanced Emily Kokal's ethereal vocals with the band's signature rhythmic hypnosis—their third full-length "Heads Up" finds the Los Angeles quartet boldly stepping into uncharted sonic territory, even if they occasionally stumble in their platform boots along the way.

Following the critical acclaim and tour exhaustion that accompanied their sophomore breakthrough, Warpaint entered 2016 with something to prove and apparently nothing to lose. The band had spent years perfecting their formula of dreamy, bass-heavy grooves anchored by Stella Mozgawa's propulsive drumming and the intertwining guitars of Kokal and Theresa Wayman. But rather than simply rehash their winning formula, they made the bold decision to embrace a more dance-oriented approach, trading some of their signature moodiness for disco balls and synthesizers.

The shift isn't entirely surprising when you consider the band's evolution from their early EP days through 2010's rough-hewn debut "The Fool." Warpaint has always been a restless creative force, with each member bringing distinct influences to their collective sound. What makes "Heads Up" fascinating, if occasionally frustrating, is how it documents a band in transition, caught between their established identity and their desire to explore new rhythmic possibilities.

The album's standout moments arrive when this experimentation pays dividends. "New Song" pulses with an infectious energy that recalls early LCD Soundsystem, while Kokal's vocals float like smoke over a foundation that's surprisingly sturdy. It's perhaps the most immediate track the band has ever recorded, proving they can craft something approaching a conventional hook without sacrificing their essential mystique. "The Stall" operates in similar territory, building from a hypnotic bass line into something that wouldn't sound out of place in a particularly sophisticated nightclub, complete with handclaps and a chorus that actually invites singing along.

"So Good" represents the album's most successful fusion of old and new Warpaint, maintaining their signature sense of space while incorporating subtle electronic flourishes that enhance rather than overwhelm their organic chemistry. Jenny Lee Lindberg's bass work here is particularly noteworthy, providing both rhythmic anchor and melodic counterpoint in ways that highlight why she's become one of indie rock's most distinctive low-end players.

However, "Heads Up" occasionally suffers from its own ambitions. Tracks like "Today Dear" and "Above Control" feel caught between worlds, neither fully committed to the band's atmospheric strengths nor bold enough in their electronic experimentation to justify the departure. The album's 56-minute runtime includes several moments where the energy flags, particularly in its middle section, suggesting that the band's editorial instincts didn't quite keep pace with their creative restlessness.

Musically, the album exists in the nebulous space between post-punk revival, dream pop, and electronic-tinged indie rock. Think Cocteau Twins jamming with Hot Chip, or perhaps a more rhythmically adventurous Slowdive. Kokal's vocals remain the band's secret weapon—her ability to convey both vulnerability and strength often elevates otherwise straightforward material into something genuinely affecting.

The production, handled by Jake Bercovici with additional work from Flood, strikes an effective balance between clarity and atmosphere. The electronic elements never feel grafted on, instead emerging organically from the band's established sound palette. When "Heads Up" works, it suggests exciting possibilities for guitar-based bands willing to embrace contemporary production techniques without abandoning their core identity.

Six years later, "Heads Up" feels like a necessary transitional album—one that may not represent Warpaint at their absolute peak but documents their willingness to take creative risks. While their self-titled album remains their masterpiece, "Heads Up" has aged well as a document of artistic growth, even if that growth sometimes comes at the expense of immediate impact.

The band's subsequent work has largely vindicated this period of experimentation, incorporating lessons learned while returning to their atmospheric strengths. "Heads Up" may not be essential Warpaint, but it's compelling Warpaint—the sound of a great band refusing to stand still, even when standing still is what they do best.