In an awkward twist of fate, Kim Shattuck recently found herself being more known for what she didn’t do than what she’s done. Instead of being celebrated as the frontwoman of The Muffs, she gained notoriety for her short-lived stint as replacement Kim in the Pixies circus. But instead of wallowing or peddling a quickie tell-all, Shattuck has revived The Muffs for their first album in 10 years, Whoop Dee Doo (Burger Records).

Despite over 20 years of existence and some high profile placements, The Muffs have never gotten their due. It’s curious because they seem almost scientifically built to succeed, with five albums filled with tuneful pop-punk songs that are equally shaped by ’60s garage rock, Buzzcocks, and country & western. Add to that a singer who’s one of the best screamers in the business and can also slide into a heartbreaking croon at the drop of a dime, and The Muffs seem like a band that should have been huge in the ’90s. Thankfully, they soldiered on despite a lack of commercial success. And while being summarily dismissed from the Pixies may not be the most ideal way to bring The Muffs’ name back into the spotlight, at least Shattuck knew how to capture the moment and has delivered a quintessential Muffs album with Whoop Dee Doo.

Joined by longtime members bassist Ronnie Barnett and drummer Roy McDonald, Shattuck picks up almost exactly where she left off. With the exception of a slightly bit more rasp in her voice, which is truly by degrees as Shattuck has always had a voice of honey-coated sandpaper, Whoop Dee Doo is an album that sounds as if recovered from a time capsule. Part of that is because The Muffs have always been a live sounding band on record. Because they never dabbled with trendy production styles, their records never seemed anchored to one point in history. In essence, every Muffs album could be an entry point to the band’s catalog. Whoop Dee Doo adds more songs about boys, relationships, and love gone wrong backed with buzzsaw guitars, deceptively melodic basslines, and propulsive drumming. Every song seems like a 45 jukebox hit in some alternate universe.

What Shattuck has always done best is tap into a teenage longing without sounding childish or stunted in emotional growth. It’s that lack of a “grown folks” filter that gives her music a timeless universal feel. It always helps that she can balance sweet nothings with songs like “Cheesy,” where she tells a would be suitor that she liked him till she got to know him. Sour but sweet, tough but delicate, Whoop Dee Doo is a welcome return to The Muffs’ world.