We all know the type: prolific bands that commit every loose thought, stray idea and 90-second song fragment to tape. Bands that pay no attention to little inconveniences like íÍrelease cyclesíñ or íÍself-editing,íñ and instead decide that quantity equals quality, creating a discography more labyrinthine, imposing andíïultimatelyíïexhausting than the cast of creatures in a sci-fi novel. Here is why none of that applies to THEE OH SEES. Because each of the dozen-plus albums theyí´ve released since 2004 possesses a distinct personality and represents a different point along the path of JOHN DWYERí´s slow transformation from auteur of woozy, bare-bones four-track psychedelia to goggle-eyed garage rock marauder backed at long last by a band that both shares and stokes his singular vision. Because drop a needle on any record andíïto their great creditíïit takes several songs before youí´re convinced ití´s Thee Oh Sees. The seasick hundred-bottles-of-rum shanty íÍWhat the Driven Drink,íñ from 2007í´s delirious Sucks Blood exists in a different galaxy than the rollercoastering íÍChem-Farmeríñ from last yearí´s Carrion Crawler / The Dream; the doomy doo-wop of íÍBlood on the Deckíñ hardly seems like the product of the same band that delivered the yelping íÍRuby Go Homeíñ in 2009. And the band that made last yearí´s engrossing Putrifiers II seems like a distant cousin to the one delivering Floating Coffiníïarguably the most varied and textured Oh Sees record to date.