Polvo are back. If you are under 30 I imagine your reaction to that news is, “Great. Who’s Polvo?” Fair enough. Seminal art rock indie bands from the early 90′s not named Sonic Youth (more on them later) have not necessarily had their legacies heralded in the aughts. Since their last release, ’97′s Shapes, and subsequent break up, the primary members Ash Bowie and Dave Brylawski have unfortunately done little to enhance Polvo’s standing. But good news young music fans, Polvo, reunited with new drummer Brian Quast, have a new album, In Prism, that is as good a place to start as any previous Polvo release.

Secretly, if we are all willing to be honest with ourselves, most of us wish some of our favorite bands would break up. Or at least give us some time to breath. I have friends that wish Robert Pollard would stop being Robert Pollard for awhile. Some of us begrudgingly head to Target to get the new Pearl Jam out of obligation. Personally, no matter how much I respect and hear good things, I’m having a hard time putting my money down on the new Yo La Tengo. And, and this might cause a stir, you’d be hard pressed to find anyone other than a Sonic Youth diehard that can tell you what song is from what album when confronted with their last decade’s worth of releases. With this notion we approach In Prism.

Polvo left us in a weird place. 1997′s Shapes was such a far reaching and at times confusing album it was hard to tell where they were going next. Turns out, it took 12 years to answer that question. Backwards might be the answer. Backwards with a sense of purpose and confidence. In Prism is easily the most accessible Polvo record, but that does not mean it is mainstream in the least. It just sounds as if Ash Bowie wants to sing rather than hiding his voice amongst the math rock racket. And that racket is pure Cor Crane Secret-era fat, rubbery guitar riffs off time enough to challenge your balance.

Look no further than album opener “Right The Relationship.” Gone are Shapes’ Eastern tinges and long, winding roads. This is as straight forward as math rock can get and more aggressive than most late era Polvo. It’s evident early on this reunion wasn’t merely about nostalgia. In Prism exhibits some of Polvo’s finest including the majestic Stranglehold-esque hinting guitar soloing on D.C. Trails.

It’s interesting how cohesive this album is considering the 12 years apart. Tempos change, take “City Birds” for example, but sound and style stay decidedly Polvo.

And here’s where I might argue that Polvo breaking up, however much it sucked at the time, might have been a good thing. How many Sonic Youth albums have come out in the last decade hearalded as a return to form and then quickly forgotten about? If Metallica had called it quits after the Black Album how differently might Death Magnetic been received? If Polvo had gone in as many directions as Shapes suggested In Prism might be a return to form, a welcome regression, but with years of transgressions interfering with our memories.

Instead In Prism can be enjoyed for what it is: a great record in a genre that needs great Polvo records. It’s a place for those unfamiliar to become familiar. That’s as good as a reunion gets. Some bands just need to know when to go away for awhile so we can welcome them back.