Pharrell Williams, Chad Hugo and Shay Haley have done it again. It took three years, but they’ve finally done it. Better known collectively as N.E.R.D. (No-one Ever Really Dies), the hip-hop/funk rock trio has dropped another LP full of infectious beats for its fans.

If you liked “In Search Of” (2002) and “Fly or Die” (2004), you’ll love much of “Seeing Sounds.” If you weren’t already a fan, however, this album won’t do much to convert you, as the band tends to stick pretty close to its signature sound: funky, spaced-out synth effects over energetic live instrumentation. They’re very good at it, but it’s not for everyone.

Obviously its lead singles “Everyone Nose” and “Spaz,” fresh from its stint as that catchy song from the Zune commercial, made the cut. “Spaz” is one track that is particularly well-done.

“Sooner or Later” is another stand-out track. Singing over a quiet piano instrumental for the first verse, Pharrell laments about life following a messy breakup: “Sooner or later, it all comes crashing down,” he sings, slowly building the song’s energy until the real showstopper enters – a frenetic Jimi Hendrix-inspired guitar solo.

From then on, most of the album is pure energy-driven. This is good for N.E.R.D. because it plays best this way. “Kill Joy” moves blisteringly fast, driven by a feverish Afro-Cuban beat and catchy rock hook, but I’m still not sure if the lyrics make sense.

“Windows” has a catchy hook, with it’s surf rock guitar licks. “You Know What” is also very solid. Shay Haley is an excellent drummer, and doesn’t get enough recognition.

Still, as with the group’s earlier albums, some of its songs are simply too repetitive. I had enough of the jazzy “Yeah You” within the first minute. Pharrell, backed by Chad Hugo on the saxophone hook, sings aimlessly: “I bet you heard the song/ Wanna know who I’m talking bout. You!” I’m usually a fan of Pharrell’s style, but on this track, he sounds like a broken record. “Love Bomb” sounds like it should have been on N.E.R.D.’s 2004 release, “Fly or Die.” That’s not necessarily a bad thing, but the song doesn’t really reflect the group’s musical growth of the past few years. And at four-and-a-half minutes long, the track definitely could have been cut in half.