It’s been six years since the release of Band of Horses‘ last album, and boy, has it made a comeback. The Seattle band, relocated to South Carolina, has come back around to deliver a tongue-in-cheek album aptly titled Things Are Great, because… y’know, they really are.

Sarcasm aside, what’s presented is a thoughtful album of alt-rock jams that explores a full spectrum of themes from the observational to the personal. Frontman Ben Bridwell isn’t afraid to get political on a number of songs.

Longtime fans will be glad to know that Bridwell envisioned this album as a return to the band’s roots, which he and his bandmates managed to achieve quite successfully. Opening track “Warning Signs” kicks things off with a climbing guitar melody—as Bridwell sings of the struggles of addiction, and medical and financial problems, with which many are unwilling to ask for help, either out of shame or pride.

Sticks clack on the countdown for “Crutch,” as acoustic and electric guitars pick up in harmonious fashion. The song details the frustrations that come with being dependent on someone you can’t stand otherwise. The play on words within the lyrics—”I’ve got a crutch on you”— highlights Bridwell’s dry wit.

“Tragedy of the Commons” is easily the most politically charged track on the album. Bridwell criticizes the lax attitudes to the crises of capitalist society, brought on by mass consumption and corruption, all while vital resources are bled dry from the environment.

“The hate train pray it crashes/ Jaded chattering of neo-fascists/ The clatter of the ever-warring classes,” he sings, lambasting a do-nothing political structure that pits people against each other.

We then get the solemn, tired and weepy guitar strikes of “Hard Times.” Bridwell sings about the fallout of a toxic romantic relationship. The narrator expresses feelings of abandonment, as well as a deep resentment for how his partner abused him. The bopping strumming of “In Need of Repair” emanates a positive energy, but it’s as bleak as many of the other songs on the album. Here, Bridwell contemplates the anguish and dysfunction commonplace in everyone’s lives these days.

“Aftermath” maintains a similarly dark tone, with its echoing guitar strikes that reflect the echoes of flashbacks and nightmares that those who suffer from PTSD experience. “Lights” has an upbeat and driving rock rhythm that tells the tale of a couple of kids hanging out on private property in the dead of night, before the cops are called on them and hold them up for questioning. The cops are armed, shining lights into the kids’ faces, Panic sets in. It seems timely in the current climate.

The album closes out with the much lighter tone of “You Are Nice To Me” and “Coalinga.” The former features a playful ukulele sharply contrasted by grimy electric guitar playing. Bridwell sings about seeing his loved ones struggle, and wanting to support them in a reflexive manner to how they treat him.

It’s a sweet and sentimental reminder of the golden rule, of which we could probably all use a friendly reminder now and again. “Coalinga” details the band’s journey out to the titular California city, Bridwell paints a picture of a cow-manure-stinking town with some of the nicest folks you ever did meet. Perhaps not the highest of praises, but it’s still a bop, for what it’s worth.

Follow editor Tim Hoffman at Twitter.com/hipsterp0tamus.