Since 2009, Brooklyn indie ensemble White Rabbits have caused critics and fans alike to question the importance of innovation in music. Two years removed from the success of their breakout debut Fort Nightly — an Afro-pop and calypso-influenced rock record that earned high critical marks — the sextet made It’s Frightening, an album that’s largely indistinguishable from the much picked-over work of The Walkmen and Spoon. (The latter’s Britt Daniel produced It’s Frightening, so this isn’t completely surprising.) Music critics were polarized, most not sure what to make of a band that, in the beginning, seemed set on breaking new ground, only to move to the middle when the spotlight shone brightest. Others, like The BBC, questioned the point of White Rabbits entirely — though when the writer went on to question the point of life itself, one got the impression that he may have simply been depressed. Ultimately, all the existential inquiry belied the fact that It’s Frightening was a fine enough album. It’s an admirably well-constructed indie rock collection in the truest sense and, heard in a vacuum absent the critical echo chamber, is plenty enjoyable. Which begs the question: Does it matter that White Rabbits made a safe record? It depends on your perspective, of course, but one thing’s for certain: It will be the last thing on our minds when the band launches into its always great live set.