“The Last Night” is a shambling, shuffling, bittersweet beauty, akin to vintage Teenage Fanclub the way that blistered guitars erupt from wistful melodies. It mourns the gentrification of Dublin, not likely something that would have bothered Long or O’Neill in their heyday, but that’s the only hint of age. “Memory” moves faster, a blur of guitar propulsion that recalls the Feelies. It’s a delicate balance of romp and daydream. The hard backbone of drum and riff melt into echo-sheathed rainbows.

“It Comes and Goes” dips back into the two musicians’ post-punk-into-new-wave beginnings, a rifle shot beat puncturing romantic flourishes of string, baroque swoops of sung melody. The title track saunters trippily, a miasma of overtones enveloping Primal Scream-ish slashing drones. It’s the black leather basic rock song of this particular disc, a little blues in its slanting vamp. Elsewhere the floor pulses with strobe flashes, as on pulsing “Taxi,” a psychedelic raver wrapped around confessional songwriting.

The point is that the songs are all different in subtle ways and all quite good. These songs have soft, self-revealing centers, but bristle with banging rock noise.  Here’s to second acts that sound like they could be first ones, and records made for their own rewards.