Few albums are as aptly named as The Brunettes’ third full-length, Structure & Cosmetics. In terms of structure, the album finds the New Zealand duo exploring new territory while staying true to their charming twee-pop sensibilities. They still mine the ’60s for most of their musical cues, but Structure & Cosmetics’ arrangements are far more complex than the band’s previous releases. In fact, the album sounds more like a 45-minute orchestral pop opera in nine movements than a collection of individual songs.
            Though cosmetics are regularly used to disguise blemishes and to create fake appearances, here the Brunettes use the titular makeup to accentuate the natural beauty of their compositions by adding endearing musical flourishes. Fortunately, the album is pristinely produced, ensuring these additions — whether a forlorn clarinet solo, gentle melodica warblings or some laid-back lap steel guitar — add subtle layers to the songs without becoming garishly caked on.
            Structure & Cosmetics also contains a good deal of metatextuality in its lyrics. “Stereo (Mono Mono)” eavesdrops on a conversation between two lovers stuck in different channels and features the gorgeous marriage of Heather Mansfield and Jonathan Bree’s voices on the word “harmonize,” “Obligatory Road Song” is thick with pop irony and “Her Hairagami Set” repeatedly mentions “a beautiful brunette.” This postmodern self-awareness might be too cute for some, but the rest of Structure & Cosmetics is immaculate, and among the most intelligent pop on the shelves today.