‘Panda Bear Meets the Grim Reaper’ album is a feel-good trip

Noah Lennox, the Lisbon-based musician who releases his solo work under the Panda Bear name, takes pains to avoid sending out bad vibes with his music. Following the radiant work of psychedelic pioneers like Brian Wilson and later innovators like Spacemen 3 — one of whose members acts as producer here — he fashions songs that use sunshine to internalize emotional turmoil.

“Panda Bear Meets the Grim Reaper,” the fourth Panda Bear album, functions as a feel-good trip, banishing the January clouds with a new emphasis on drum production and return to the beautiful melodies that made 2007’s “Person Pitch” so lauded in the musical press.

If the album can be said to be about anything, it would be the enjoyments and anxieties that typify the experience of a successful artist. That is, the music touches on both the pleasure and precariousness of someone living a middle-class life who fears that stability might be short-lived.

A good analogy for this might be the experience of taking a passenger ship on a capricious ocean: paradise that can turn into a hurricane at the slightest drop in the barometer. Indeed, Lennox has noted that several songs in the latter half of “Grim Reaper” resemble sea shanties, song that are intended as both celebrations and coping mechanisms for the hard life at sea.

This ambivalence is, paradoxically, most evident in the happiest of the tracks, “Crosswords,” where the narrator reminds himself that “You got it so good. So good, so good.” Sheer repetition wrings the sincerity out of these nostrums. They begin to seem more like words of comfort than arrogance or complacency.

Meanwhile, in “Boys Latin,” Lennox frets about looming dark clouds but sounds arguably more chipper than in “Crosswords.” These emotional disconnects, which can be difficult to hear because of the album’s dense production, settle well with the happy but unsettled mood of the album.

Lyrics come second in Panda Bear songs, though. Despite the tracks here being far more straightforward than comparable ones on “Person Pitch” or “Tomboy,” the songs communicate primarily through musical shapes and flow. Drastic changes in tempo are largely absent.

Beat-driven songs like “Mr. Noah” maintain a constant, anchored rhythm impervious to the electronic shimmering around it. Synths and strings provide the tranquil mood for “Tropic of Cancer,” which pushes along as a gentle lullaby before ending in a truly strange instrumental coda.

After a blister of noise, “Lonely Wanderer” leads the listener into the end of the album with a reflective, piano-driven ballad. It’s all almost stiflingly consistent. Despite the threat of monotony, however, Lennox and company are able to offer enough intriguing sounds to end the album successfully.

Final track “Acid Wash” brings the album’s conflicting emotions to a bright “laugh at the void” conclusion, carrying its simple melody with a dazzling synth-encrusted march to the finish.

Panda Bear’s music has always scrubbed the detail from the lyrics only to refill it beyond capacity with production and instrumentation. Like most psychedelia, its universalism is meant to be a gateway to personal reflection on behalf of the listener.

“Panda Bear Meets the Grim Reaper” makes only half-hearted attempts at working through its emotional conflicts, but its music is intricate enough to make it a worthwhile listen. Perhaps you can find something in one of its many twisted corners to brighten your day.