A voice materializes out of the haze of chiming lava lamp guitars, inviting listeners to join in for what could really be our “Best Night” in a long time. The War on Drugs’ Slave Ambient is a late night album full of mist and insomnia city lights repetitively flickering before dawn.

The lazy nasal whine of a voice, Adam Granduciel, will remind many of Bob Dylan (Granduciel is an admitted admirer of Mr. Zimmerman), but that similarity disappears amongst the drones and clangs of this record. So well sculpted are the sonics on Slave Ambient that after the first couple tracks, the band has their hooks buried deep.

The beautiful sounds coming from the clash of guitars and synths – where “Original Slave” puts the “ambient” in the album’s title – shouldn’t overshadow the fact that there are finely crafted songs here. Well written compositions, like hummable acoustic album closer “Black Water Falls” make it difficult to believe this band has only been active since 2007. Strong melodies reveal themselves after multiple listens and this will likely draw more people in, while at the same time big sing-alongs are in rare supply here.

“Baby Missiles” is the track with perhaps the most instant appeal upon first spin, and a good starting point with those unfamiliar with The War on Drugs. Though inscrutable lyrics like “He wants a ride on a meat machine/He felt alive on a meat machine”, will leave some scratching their heads, the propulsive thrust of the music makes this song as near to Bruce Springsteen’s “Born to Run” as indie rock will likely get this year.

The War on Drugs have made a solid start to finish record, and one of the best guitar albums of the year so far. It is time to follow the tracers, put the phone on vibrate, shut down Facebook, and dive into their cosmic world.

Final Words: Exit strategy = more guitar