It's beautiful, spectral, dreamy, but never makes your pulse quicken.
More often, it sounds as if Grizzly Bear have spent their time away digging out the emotions that sometimes get buried beneath the technical fireworks.
For the most part Coexist's songs are defined as much by space as by sound. The gaps bring greater emphasis to the spidery guitar lines, the occasional steel pan, the distant icicles of piano, and the voices of Romy Madley-Croft and Oliver Sim.
Virtually every instrument is caked in distortion, but not the warm, familiar fuzz of an overdriven amplifier. It feels digital, alien, the sound of modern machines going wrong. All this is underpinned by genuinely great songwriting.
From its ambitious narrative arc to its fine linguistic detail, Good Kid, M.A.A.D City is a honed and deliberate major label debut.
It's fit to burst with bone-bending synths, insistent beats and a sometimes shrill vocal that manages to both charm and unsettle.
In a formulaic era, his production is impressively idiosyncratic, heavy on hazy electronics and cavernous, dubby reverb, and packed with weird touches: the melodies never quite pan out as you expect them to, while the backing shifts and changes unpredicatably.