This post was updated Feb. 17 at 7:48 p.m.

The Lumineers’ newest album is automatically divergent from their previous works.

Known for their stomp-and-holler sound and singalong melodies, The Lumineers are introducing a fresh note with their fifth studio album, “Automatic.” While the project consists of a laconic 11 songs spanning less than 33 minutes, its extraordinary lyrics provide a lasting impression, even when the instrumentation noticeably fizzles out. Founding members of the band Wesley Schultz and Jeremiah Fraites have successfully written a collection of raw, thought-provoking tracks that echo earlier hits such as “Leader Of The Landslide” and “Big Parade.” Although “Automatic” might not be the most romantic soundtrack for Valentine’s Day, its message will reign paramount in this age of digital love.

The Denver-based band wastes no time setting the gallivanting tone with the opening track, “Same Old Song.” A heavy drum beat kicks off the LP and envelopes the listener in a rush of energy and excitement, which consequently wears off when the lyrics become more apparent. With a pace so optimistic, it is startling how drastic the juxtaposition is between the melody and the dark line, “’Cause any one of us could make it big or could end up dead on the pavement.” This ominous phrasing continues throughout multiple subsequent songs, most notably on track eight, “Keys on the Table,” and on the similarly haunting closing anthem, “So Long.”

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Opening with an electric blindside of resonating guitars, the trippy “Plasticine” proves itself to be one of the top tracks on the album. Starkly unique from other sounds in their discography, The Lumineers bring dystopian realities into focus as they chant, “Arе you sure you wanna live forever? / Everyone in a world so full of / Silent conversations / Can you promise not to fake it for us?” The chorus of this sixth track provides an echoing melody that verges on techno and meshes well against Schultz’s poignant verses warning against global digitization and societal manipulation.

In spite of, or possibly in tune with, its humorously crass title, “Asshole” is the primary choice for those in search of a lost-love anthem that could rival The Lumineers’ preeminent ballads “Ophelia” and “BRIGHTSIDE.” Featuring a fresh perspective on flings and equivalently temporary relationships, the lyrics are self-aware and vulnerable, making them the strongest aspect of the song. Unfortunately, the mixture of piano and drum accompaniment does not succeed in bolstering the track’s story, specifically missing an opportunity to up the ante during the last chorus. Instead, the swaying song falls into a repetitive state and forgoes emphasis in its final seconds, which might act as either a greater metaphor for a relationship losing steam or simply a weaker point of production.

Being the second-shortest album in The Lumineers’ discography – only slightly longer than its 2022 predecessor “BRIGHTSIDE” – it is a risky decision to include two tracks that feature solely instrumental melodies. In the case of “Automatic,” the result is intensely dyadic: while “Strings” fails to prove its place and purpose within the project, all 80 seconds of “Sunflowers” are crucial. The angelic interlude exudes a gentleness that the album lacks overall, providing a rhapsody of growing anticipation and unapologetic joy. As a buildup to the last track, the song rises from two offset piano notes into a deeply gripping arrangement that has the listener running through a sun-drenched flower field deep within their mind.

Inarguably, The Lumineers’ “Automatic” is an album that prides itself on its powerful lyrics. While its instrumental production cannot compete with the excellence of the band’s previous work – such as “Cleopatra,” which debuted at No. 1 on the Billboard 200 in 2016 – the project is a clear indication of a new era for the band, one that is interested in the current state of the world. In an interview with NME, co-founder Fraites predicted, “People who think they have our number, they’ll be surprised.” His statement has proven to be true, as seen in the LP’s heavy focus on brutality, mental health and political unrest.

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For many listeners, songs such as “Automatic” and “Better Day” will likely strike an emotional chord with lines such as, “Rubber bullets, pepper spray / Cardboard boxes on the way / Dreamin’ of a better day” on the latter track. Such lyrics go hand in hand with the album’s overarching concerns about violent upheaval and society’s prioritization of production rather than personal connection. While these ballad-like songs are instrumentally simplistic, this innate counterbalance allows the poetic lyrics to hit the listener with twice the force.

Until this point, the alternative folk band has amassed a global following by producing upbeat songs that bring a smile to one’s face, yet this latest album has noticeably aimed for unprecedented depth and discourse. Sound can be deceiving, and while they have kept in tune with their crunchy Americana roots, The Lumineers tackle multiple politically charged themes, including the rise of digitization and overconsumption and its growing impact on today’s youth. Despite these grave ruminations, the essence of the album remains chiefly centered on love, camaraderie and unmistakable closeness. On the whole, the band produced a succinct album that falters in its musical diversity but ultimately resonates in its profoundly lyrical wisdom, making it a just target for praise as well as criticism.

The songs of “Automatic” stress a bold plea from The Lumineers, but they still make sure to “dress it up in a precious melody.”