Two tracks into the Foals‘ newest album one notices a distinct departure from the safety of indie electric guitar into the depths of a more industrial, heavy bass line. The simplicity of “Spanish Sahara” from their 2010 album Total Life Forever is replaced by the abrasive claustrophobia of “Inhaler.” This leap, however, comes off not surprising or forced but well-integrated and organic. Holy Fire is the Foals’ most cohesive album. Filled with dejection and self-discovering in trademark archetypal lyrics tangled between guitar lines, the band comes back stronger than ever, only somewhat older and somewhat grittier. Originally defining themselves as “math rock”–rhythmically complex, guitar-based experimental rock–the Foals proceed to break their own limits.

Notorious for their ability to amplify a crowd to unprecedented decibels, the Foals created an album that energizes. The fast tempo and the rhythmic drum line that spans most of the album creates an overarching unity. After a string of tours and Coachella events, the Foals created Holy Fire with mathematical execution. The track order demands repeated listens to understand the album as a whole, creating a larger narrative. Seamless transitions are highlighted by the crooning of Yannis Philippakis, the lead singer, as he stretches his vocal chords from song to song, as seen on the soulful “Late Night.” In each song, calculated moments of pure instrumentation akin to “Prelude” show a technical proficiency that has evolved since their last efforts. The core guitar line and progression is rehashed in multiple songs but with enough variation to constantly enthrall the listener.

Still, it is the lyricism that truly defines this work as the Foals’. With a bigger sound, with more ambition and greater control, the Foals hold on to this idiosyncrasy that helps distinguish them from the innumerable wave of other rock acts. The lyrics are as poignant as ever. “I made my mistakes,” sings Yannis as his voice starts to reach its threshold as he calls himself a “bad habit” for the people he loves and the people that love him. On an album largely concerning love and its complications, Philippakis’ voice lends itself perfectly to the theme: a sense of longing manifests itself in every syllable he sings. The union (or purposeful overlaying and complicating) of form and structure makes Holy Fire a step towards greatness for a band that has been underestimated. “Milk & Black Spiders” accentuates the math rock elements that had been permeating through the album and functions almost as a victory lap in its final minute.

The Foals completely return to math rock in “Providence” with an exhilarating crescendo. In “Stepson,” we are brought back into an intimate session with Yannis, as he croons, “I’m coming down for you.” On “Moon,” we start to feel the uncertainty that Yannis feels as the notes become spacious, the tempo slows, and the drums fade to static: “It is perfect, it is beautiful and still / And it is silent, it is white and it is good,” Yannis sings in the penultimate verse of a sober ending to a thrilling ride. I find myself consistently returning to Holy Fire.