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Across the previous Slaughter Beach, Dog albums, Jake Ewald has crafted a specific sound. It’s one that incorporates pop music, indie-rock, folk, and just the faintest dash of punk in order to create something that’s accessible but still artistically rich. With Safe And Also No Fear, the band’s third album, Ewald has abandoned his usual practices in service of creating something that, try as one might, isn’t so easy to describe.

In the wake of 2017’s Birdie, an album awash in warm tones and bubbly pop hooks, Safe And Also No Fear can’t help but feel like a turn toward darkness. It’s not one that’s instigated by the outside world—as inescapable as it may be—but instead the dramatic shifts of a person’s interior life. Where Ewald once offered tightly woven vignettes about characters that mirrored the people in his life, Safe And Also No Fear finds him naked at the album’s center, questioning everything he knows about himself. Around him, bassist Ian Farmer, guitarist Nick Harris, and drummer Zack Robbins spin out songs that are dense, swirling amalgams of difficult questions and hard-earned realizations—the kind that can’t be expressed through the accepted structures of pop music.

Safe And Also No Fear is a bold gesture, not just because of the music contained therein, but because it required Ewald to interrogate his artistic tendencies, breaking himself of his habits in service of making something he never thought he could. That involved trusting his band, with whom Ewald collaborated for a full year of writing and recording. Unlike Birdie, where Ewald played every instrument, with Safe And Also No Fear everyone’s fingerprints are on it. Though the album is a product of Ewald committing to his vision, it’s also proof of the way that Farmer, Harris, and Robbins are able to expand Slaughter Beach, Dog’s sonic boundaries in subtle, evocative ways.