Early in the recording of his third full-length album, 2017's spirited , paused the process to take 's up on his offer to come jam at his studio in what amounted to a kind of creative jump-start -- a way to get the juices flowing again. While it's unclear if anything they played made it onto , it certainly sounds like it could have. Rife with gritty R&B tones and a driving punk energy, the album sounds like something might have made if they'd come into their own in the '60s garage rock era instead of the alt-rock 2000s. Which means, for longtime fans, the album feels both familiar and like a conscious attempt to shake things up; not a huge leap off the stylistic cliff, but a dance on the edge nonetheless. Recorded in Nashville's historic RCA studio B with producer once again finds the Oklahoma-born belter joined by longtime bassist and collaborator , as well as his regular touring lineup of pianist/organist , drummer , and guitarist/saxophonist . Making guest appearances are ' and , and guitarist . Also helping disrupt his own sound here are several songwriting collaborators including nervy pop stalwart , fellow Oklahoman , and former -guitarist-turned Nashville-psych-singer/songwriter . The result is that 's brand of vintage Americana sounds even more stylistically cross-pollinated. Cuts like the lushly romantic "Hunting for Sugar" and the driving "On the Lips" somehow touch upon classic Memphis and Chicago soul sides just as much as they evince '80s and the edgy garage rock of . Furthermore, while there are certainly a handful of well-honed chorus hooks here, tracks like the yearning "Jubilee" and the -esque "Under the Spell of City Lights" deftly subvert anticipation with downplayed choruses that come just a hair later than you'd expect. These are subtle shifts that speak to 's ever-growing songcraft. Thankfully, what hasn't changed is his knack for crafting memorable pop hooks, as evidenced by the -esque groover "Crying's Just a Thing That You Do," and the acidically bluesy "Lucky Penny." Both are kinetic anthems that make great use of 's highly resonant, bell-tone vocals and strikingly literate lyrics. A former art teacher who grew up on a ranch, has always distinguished himself as both imagistic poet and dirt-on-his-boots troubadour. It's a dichotomy that informs much of . On "Crying's Just a Thing That You Do," he sings "You're sipping your Darjeeling/And staring at the ceiling/You dream about it splitting in two," and later "I kinda held my head down for most of the ride/Skimming through Rossetti and Poe." Arty tropes aside, with continues to pull all of his varied stylistic influences together into his own vibrantly coherent brand of visceral, emotive rock that grabs you by the collar and demands your passion. ~ Matt Collar