Great pop music can be lost or found in the details, as Vancouver’s indie-rock darlings the New Pornographers illustrated in the Newport Music Hall last night during an energetic 90 minutes that let up only briefly for tech adjustments.

The Pornographers have just released their seventh album, something of a surprise given that the band began back in 2000 as a one-off partnership between three terrific songwriters—A.C.

Newman, Neko Case, and Dan Bejar, all of whom have careers outside the band. The new “Whiteout Conditions, entirely written by Newman, blended seamlessly into the group’s catalogue last night, in large part the result of those finer points that set the group apart.

Early-on, “Moves,” a dramatic tune driven by classic rock chords at the beginning, was punctuated during its verse and chorus by pulsating harmony vocals that sounded like a boiled-down version of the repetitious singing on Stereolab recordings, themselves inspired by modern minimalist music. It is one of the devices the Pornographers tap to create the hypnotic rhythms that make their tunes swing like mad.

The eight member band enlisted every piece in subtly sophisticated arrangements that not only reinforced the groove, but fleshed out the melodies. Case was one of three female vocalists to add accompaniment, punctuation and harmony to Newman’s leads.

Two keyboardists lent more rhythm as well as texture to the tunes. Newman’s new tunes were always in the pocket with the band’s catalogue during the evening’s two dozen or so songs. The new album’s title track and “Colosseulms” were particularly fine additions to the set list, the former riding on Joe Seiders’ thundering drum beat, augmented by a New Order-like synth groove; the latter sporting a mysterious, 60s spy theme vibe.

New Pornographers songs, the older ones composed by Newman, Case, and Bejar, as well as Newman’s new collection, echo a handful of styles, from ‘60s garage rock and Mersey Beat pop, to modern Americana and indie rock. But they do so without calling out the influences. There’s a broader vision behind them, one that is found in their subtlety and felt in their passion.

Waxahatchee opened with a short set of songs delivered with electric guitar and bass and very little stage presence.