Perhaps the biggest challenge facing a small, unsigned act is recording “the record.” Pitfalls are aplenty and trouble has a way of finding even the best of bands. Maybe the biggest of these obstacles is capturing an accomplished live band’s sound.

Recording an album seems to be a balancing act of sorts: Too little production, too much tape hiss and too much lo-fi madness can lead to an understated effect. Too much gloss and superstar production can lead to fake, soulless music. Either approach leads to diminishing said accomplished live band’s energetic sound.

Enter Everthus.the.Deadbeats. Muncie, Indiana’s very own excessively punctuated freak-pop outfit has just released its second record, produced by If Anything’s Andrew Malott and Daniel Clark, Addicts Stuck in Traffic is a gigantic and ominous-sounding joy-ride that blazes through six tracks without ever feeling rushed.

While not technically an EP, Addicts Stuck in Traffic isn’t exactly a full-length either. The material – culled from the band’s familiar live repertoire – includes no surprises. These songs have been played live almost since the band’s inception. What is surprising (and refreshingly so) is that the band has managed to find that peaceful area between lo-fi glory and produced gloss.

Guitars shimmer and snarl, vocals swirl, keyboards punch, and the rhythm section holds the project down with down with menacing vengeance and tactful subtlety. Addicts is, quite frankly, immaculately produced.

In apropos fashion, Benny Sanders' fuzzed-out bass on “Blackout” is the first thing we hear on Addicts. Then the vocals – layers and layers of them – hurtle in. The blood-curding scream fades out and John Muylle’s and Lisa Berlin’s keyboards provide the gloomy soundtrack for Muylle’s apocalyptic lyrics.

While one of Deadbeats' best live songs, they stumble a bit on “She”. The heavy crunch of Sanders bass and the cavernous production – particularly on the drums – weighs the track down, burying Allen Bannister’s guitar-work – which is at its best on this track – beneath a tidal wave of low end.

However the the Deadbeats redeems themselves throughout the rest of the album. “Human Paraquat,” propelled by a driving dance/jazz drum beat, stands out as the album’s best track.

But the biggest strength of Addicts Stuck in Traffic is that each band member contributes equally. Muylle doesn’t overshadow the band with his alter-ego kitsch. Bannister’s understated work on guitar provides dashes of texture. Berlin’s work on vocals belies Muylle’s Jim Morrison-esque vocals perfectly. Sanders and drummer Dan Fahrner serve up inventive and adventurous rhythmic parts.

One gets the sense that the band has something better in store on their next outing. Addicts is a chance for the band to move on and to start writing and recording new material.

For now, consider this album a success.