Almost every band in rock history - with the exception of the Ramones and AC/DC - has felt the need to, or just naturally, evolve. The mellower, sweeter and slicker Superchunk of today is markedly different from the high-octane, power-punkers of the early 90s. After getting more plaintive and intricate, and beefing up the instrumentation on their records throughout the mid-90s, they got their firmest handle on a solid, more mature sound on 1999’s Come Pick Me Up. With Here’s To Shutting Up, they maintain this more accomplished direction.

One upside of Superchunk’s renaissance is that it makes their well-developed songwriting more apparent. A lighthearted poke at art school snobbery (“Art Class (Song for Yayoi Kusama)”), a poignantly-detailed account of a love gone sour (“Act Surprised”), and a country-flavored story of a couple who’s long distance relationship involves phone sex and the fear of plane crashes (“Phone Sex”), are just a few examples that will make you laugh, cry and cringe. The downside for long-time fans may be the continued loss of the raw energy of the past and increased studio enhancement. But they still make expertly crafted songs with irresistible hooks that are driven by a more latent pulse bubbling under the surface. And now that Mac McCaughan’s tenuous yelp has become more sheepish and cuddly, the music has an endearing warmth - particularly when bassist Laura Ballance adds harmony - that was previously buried in raucous guitar noise.

With Here’s to Shutting Up, Superchunk proves they still have plenty to say and an increasing number of ways to say it. The classic, do-it-yourself band has become more quaint and charming with age as they continue to thrive.