The Indigo Girls were big way back in the late 1980s and early 1990s, when Tracy Chapman and Melissa Etheridge were just breaking into the mainstream and most of us were barely out of preschool. Yes, those were the days, between naptime and Hypercolor T-shirts and quality music that was way over our heads.

In the 15 years since the band's hit "Closer to Fine" brought folk college rock to the masses, the Indigo Girls have seen unfathomable success with an ever-growing fan base.

Wait, no. That's not right.

In the 15 years since the Indigo Girls' self-titled national debut wowed critics and listeners, the duo has released a handful of albums that have sold pretty well and received a couple of Grammy nominations, but the CDs are generally regarded as mediocre.

Emily Saliers and Amy Ray have popped up in the news occasionally, whether it was for being part of Lilith Fair or for being banned by high school administrators for their sexuality (they're lesbians) and lyrics (one f-bomb in "Shame on You").

With the release of All That We Let In, the Indigo Girls' latest effort, all attention will return to the music itself, with any luck. This simultaneously political and personal album hearkens back to the Indigo Girls we heard during carpools and on our older siblings' tape decks.

The Girls accomplish something many other artists fail to do: All That We Let In feels like a cohesive album while covering a variety of subjects and styles.

The CD starts off with the upbeat breakup song "Fill It Up Again," followed by ska-infused "Heartache For Everyone."

No "woe is me, emo, crying myself to sleep" vibe here -- just a "que será, será; that's too bad, I'll move on" sentiment. Along with the easygoing mood, the music is light and fun and friendly.

The album has its share of ballads, too, with mentions of loves and loves-lost, but each one stays away from being too sappy or depressed, keeping the instrumentation and vocal harmonies at the forefront.

The songs range in style from a single voice with simple background music to complex intermingling melodies, but they never go too far in either direction to break the continuity of the album as a whole.

The best song on the album goes beyond heartbreak and devotion, straight to politics. The Girls take on the war or peace debate with backup vocalist Joan Osborne in "Tether," presenting the never-ending argument with sincerity and style.

"We need a few less words dear, we need a few more guns," the Girls sing sarcastically.

Woohoo, guns for everyone!

Oh, that's not the point.

The point is all we need is love. Cool.

So for the Indigo Girls fans whom have been disenchanted by the duo's recent efforts, fear not -- the Girls are back.

And for those who aren't fans yet but do like good music, this album is worth letting in.