The second part of the one-two punch that confirmed Ball Park Music as bona fide breakouts, 2012’s Museum followed just 13 months after the Brisbane indie rockers’ debut album, Happiness and Surrounding Suburbs. It hammered home still more squirrelly energy and spontaneous sing-alongs, as well as leader Sam Cromack’s wordy, knowing vocal delivery. But it’s still rare for young acts to sound as comfortable as Ball Park Music do here, whether they’re casually stacking up hooks on song after song or tucking into synchronized guitar flourishes on “Harbour of Lame Ducks.” Splitting the difference between Weezer’s geeky bubblegum and Neutral Milk Hotel’s saturated fantasias, the band kick up lots of lively contrast along the way. Case in point: Opener “Fence Sitter” jumps into its jittery chorus before the album’s first minute has elapsed, then collapses into wayward stabs of trombone and keyboard before steering its way back on track. Ball Park Music’s off-the-cuff charm offensive has only built momentum since this record, as Cromack and sibling bandmates Daniel and Dean Hanson continue to hone their psych-slanted sensibility on albums like 2022’s Weirder & Weirder while applying their quirky production aesthetic to kindred spirits like Alex the Astronaut.