Don't let the freaky album cover deter you from checking out the YYY's latest release. (via Wikimedia)

After four years, the Yeah Yeah Yeahs have released their fourth album,"Mosquito." Whether "It’s Blitz" was too mellow for fans who prefer the more punk vibe of the band’s first two albums, or not mellow enough for people who prefer more soothing vocals, this album has something to offer everyone. 

Don’t let the twisted animation on the admittedly hideous cover deter your interest, this album is made up of really compelling tracks to match any mood.

In their most eclectic album to date, the band combines everything from gospel to rap to Rastafarian spiritual music all intertwined with Karen O’s captivating vocals and masterfully layered beats. 

The seemingly bizarre title comes from the band’s determination to adapt to changing times and tastes in order to remain relevant. Like the 80-million-year-old pests who keep adapting to survive the threat of pesticides, the Yeah Yeah Yeahs have adapted themselves to retain their importance in a time when modern technology has made anyone capable of making “music.”

“Sacrilege,” the first single from "Mosquito," has the potential to become one of the biggest summer jams, perhaps not on the club scene but on the radio for sure. Surprisingly, the gospel accompaniment complements the escalating tempo of the song and enhances their signature sound, showing how greatly the sound of the band has matured. 

The video, staring British model Lily Cole as a lustful, deceitful woman in a small town, is creepy to be sure, but visually it’s stunning, blurring the lines between music video and short film. Daring risks like this are what have made the Yeah Yeah Yeahs such an enduring rock band. 

The title song, “Mosquito,” is a welcome return to the impassioned screams that have earned Karen O such a wide following. The powerful feminist vibe of the song is reminiscent of “Miles Away,” and are a sure to be a treat for anyone who loves the classic style of the Yeah Yeah Yeahs.  

“Subway” is an inventive ode to the band’s native New York, integrating the soft screeching of wheels on a track, rather than succumbing to more cliché representations of the iconic city. Both “Subway” and “Wedding Song” share a hauntingly sweet sound that is perfect for playing in the background while you write, doodle, or simply stare out into space. 

Because not every track could be wonderful, there’s “Area 52.” I highly encourage you to preserve your respect for the album by passing over this skipable track, sparing yourself from the chipmunk-esque accompaniment that obscures Karen O’s grunge vocals. For a band that has prides itself on its innovation and creativity, this track is a bit too close to conforming to techno trends for my liking. 

I highly recommend picking up, or let's be honest buying from iTunes, a copy of this album to relive to wonder of Coachella or to cheer yourself up from the non-Coachella blues. I give it 4 out of 5 stars.

Read more of NT's album reviews here.

Contact Staff Reporter Sara Newman here and follow her on Twitter.