Though Caveman put out their first album over two years ago and are signed to the semi-major label Fat Possum Records, they have managed to stay under the radar to the point that one cannot find them on the nearly omniscient Wikipedia. Though their first album, “CoCo Beware,”didn’t generate much buzz for the Brooklyn-based, five-piece rock group, it certainly seems that Caveman’s second, “Caveman,” does more than enough to bring them recognition. Other than the lull that sinks the middle of the album, “Caveman” does an exemplary job of combining distant guitar riffs, smooth synths, bright vocals, and solid beats to create a complete sound with an immersive effect.

Caveman don’t waste time. The second track on “Caveman,” “In The City,” is the strongest song on the album. With this track, Caveman fully unleashes their potential to create entrancing music. Other than the guitar solo that floats behind the synths midway through, the structure is relatively simple, creating a mesmeric effect. The synths lay down a quick and catchy melody, and the earnest vocals—which are the driving force of the song—soon follow, “It’s like the ones who only know. / It seems like the ones who always go.” From here, the album becomes less abstract while retaining its brilliant sound. After “In The City,” the third track, “Shut You Down,” changes the dominating instrument from synths to guitar, though the rest of the aesthetic from “In The City” is preserved. The lyrics also change to more obvious statements about love, like “I’d have to shut you down to let you go / That it’s just easier to say, ‘I’m wrong.’” The album continues to evolve its form as it progresses, but to their credit, Caveman stays true to their sound throughout, combining cohesiveness and interest.

The downfall of “Caveman,” however, is that the progression of songs eventually leads the album to an atmospheric sand trap. The tracks “Ankles” and “Pricey” are both slow-moving and don’t leave much to hang on to because of the overused synths and fuzz boxes. This comes as a bit of a letdown following the well-rounded sound of the earlier tracks. Luckily, this lapse in enticement is short-lived thanks to “I See You,” the sand wedge of this album. The simple act of using an acoustic guitar to start this track breathes new life into the album. Soon after, ingenuous vocals and a heartbeat-like percussion section join in; the lyrics contribute a sense of yearning. Among the many passionate verses, Caveman sings, “I see you lookin through me, so I won’t fight what I believe.” Though the still-maturing band is unable to avoid stumbling into blandness, the stripped down “I See You” expertly rejuvenates the album when it becomes sluggish. The three remaining tracks after “I See You” harken back to the sound established in the beginning of “Caveman” and form a memorable sequence that gradually brings the album to a close.

As a whole “Caveman” is masterfully crafted and, considering the range of sounds, the unity created is truly impressive. Its mastery of intriguing instrumentation, emotionally penetrating lyrics, and indie charm far outshine any aural boredom that creeps into the album at times. Possibly the most important feature, however, is the music’s tendency to envelop. The richness of the sounds provides ample room to become lost in “Caveman,” and the variation from song to song means that—with the exception of the torpid middle—monotony will not be a concern. With their second album Caveman has arrived on the map, and while they may not yet be full-fledged indie darlings, Caveman is establishing itself as a band to be reckoned with.