Autolux nearly revived Nineties alt-rock in 2004, but a meager two albums in 12 years prevented the L.A. trio from capitalizing on its own momentum. Third LP Pussy’s Dead drops on Danger Mouse’s label with production from Boots (Beyoncé, Run the Jewels). Wrapped in the electro atmo expected from the production team, the noisy guitar psych of Greg Edwards’ day job in Failure matches wits with bassist/singer Eugene Goreshter and drummer/singer Carla Azar’s nimble grooves. Lush rock (“Selectallcopy”) alternates with electro-pop (“Anonymous”) and acid pop (“Change My Head”), coming together for a savvy hybrid (“Listen to the Order,” “Becker”). The members’ varied stylistic interests mean the music avoids homogeneity while staying true to a collective purpose. (Sat., 9pm, Gatsby)

***.5

This article appears in March 18 • 2016.

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Michael Toland started writing about music in 1988 on the Gulf Coast, moved to Austin in early 1991, and has inflicted bylines upon the corporeal and digital pages of Pop Culture Press, The Big Takeover, Blurt, Amplifier, Austin.citysearch, the Austin American Statesman, Goldmine, Sleazegrinder, Rock & Roll Globe, High Bias, FHT Music Notes, and, since 2011, The Austin Chronicle.