For the shelf they occupy, few bands have been around as long as The Walkmen. Sprouting up during the hotbed of early 2000s NYC indie music, the band’s website affectionately refers to them as “the great New York band of their generation.” A bold statement sure, it’s certainly difficult to deny both their prolific nature and continued relevancy- the quintet just celebrated their 10th anniversary with a series shows spanning their career of six longplayers and a handful of EPs. Their band’s style has changed over the years from punky and jittery to wandering and brave, singer Hamilton Leithauser has always been wailing or lulling-along, up front. Their impact stretches, but as a regional link, their catalog feels especially keen here on the left coast with our locals like Local Natives or the canyon-reverberations of hipster hippie tryhard Edward Sharp and his Magnetic Zeros owing something to these East Coasters. The Walkmen have become an institutional indie outfit, graduates in a sense and for the band’s new set, Heaven, acting their age is priority number one. On the record’s opener, Leithauser is cheery and kempt, his high-point hitting voice (Fleet Foxes’ Robin Pecknold is featured too) proclaims, “We can’t be beat, we’ll never leave” and it seems triumphant thinking of those 10 long years together.

All across the collection, the group do a rather fantastic job at really keeping things refined yet cordial. It’s odd to think of a band like them offering a Greatest Hits set, but considering their continued presence, where I’d start with Heaven, might not be in a one-to-13 order, but with its key, standout songs, pegged, if any, to fit said fictional set: “The Witch,” “Nightingales” and “Heaven.” The earliest of the three, “The Witch” builds from verse after verse after verse (“Southern Heart” as well as a decent amount of the other tunes do the same) to a great, repeat-worthy, organ-backed coda. The buoyant and energetic “Nightingales” hints retro Walkmen and pens riling guitar with the pastoral getaway swoon of those ubiquitous “oh” and “ah” vocal inflections. Finally on current single and title track, “Heaven,” Don Henley hangs with Fleet Foxes and their buzz is fueled from some gazer by Real Estate. There’s also the downright perfectly-placed chorus of “Remember, remember, what we fight for.” While other surprising moments exist- the guitar on “Heartbreaker” to give needed tension or the unexpected, drowsy luau-like waltz of “No One Ever Sleeps”- Heaven’s standout trio do a fair job at highlighting, modestly, within the lines of album number six’s frame. In discussing the Phil Ek-produced set, Leithauser said it was “the easiest record the band’s ever done” and in playback, Heaven gives longtime fans something breezy and confident without much of any exertion. Conflating their past offerings to an extent, there’s calypso marks, Talking Heads’ energy or Springsteen shouter anthems (“The Love You Love”) these 13 tunes are relatively comfy, roomy and poignant.

In photos displayed on their Heaven-retrofitted website, the entire band pose in wedding-like scenes with their their wives and children. They’re dressed up and look like all those hip old couples us younger folk may hope to resemble someday. You know, on a Sunday, they’re maybe donning yoga butts, pompadours and reusable shopping bags on an outing to Whole Foods? This is sort of who The Walkmen are now- cool, slightly-older indie rockers with credibility and a rather decent back catalog and inasmuch as the mature and elegant Heaven is concerned, if being in a position of an established musician dad buying diapers is allowing them to craft these appealing, well-executed records, then I say, bring on the diapers, dudes.

This review originally appeared on the Mishka Bloglin.