Yungblud, “Yungblud.”

U.K. artist Dominic Harrison, better known as Yungblud, always keeps fans guessing as to his next move. The singer’s 2020 album, weird!, was a boisterous alt-rock romp that treaded into the waters of pop-punk. What a difference a couple years makes!

His third, self-titled, album moves in an entirely different direction. Yungblud finds Harrison poised and mature, delivering well-crafted songs that, at times, feel downright subdued. Distorted guitars, a previous calling card, are traded for atmospheric sounds, even the occasional acoustic foray. Even the album’s most upbeat tracks have polish rather than an in-your-face urgency. The singer’s personality shines through more than ever through his lyrics.

Upbeat opener “The Funeral” is a driving rocker with a glammy ’70s sheen. The anthemic track manages to have a stripped-down and straightforward feel that sounds like throwback Springsteen. It’s an unexpected start that sets the tone for the rest of the album. The bouncy “Tissues” keeps things moving with melody, this one less Springsteen and more Mumford & Sons jamming with The Cure.

Yungblud recruits fellow alt-rocker Willow Smith on introspective rocker “Memories.” The voices and deliver of the singers, both known as creatives that ignore the constraints of genre, mesh well. It’s a cathartic track with an  instantly memorable chorus that’s begging for a singalong.

The album turns subdued on the melodic and dynamic “Cruel Kids.”

“I don’t want to do what the cool kids do/ They’re so confused,” Yungblud sings of individuality.

You’ll find yourself nodding along to an tapping your toes to “Mad,” an instantly accessible track that bursts from the speakers. At roughly the halfway point, the album’s tone is still a surprise, but a good one. “I Cry 2” fits the album’s mood but sounds popper, with Harrison using Auto-Tune as an instrument.

The record’s first slower moment comes on “Sweet Heroine,” a an anti-ballad that’s, well, sweet. Harrison’s voice really cuts through here more than on his prior work.

“I caught you in my throat like you’re medicine/ I say to myself I’m in control of it/ But I won’t fall in love,” Yungblud sings.

No track defines the classic-meets-modern vibe more than “Sex Not Violence,” which melds everything that Harrison is trying to accomplish on the album together to terrific outcomes. It’s refined and nuanced, but also has a dangerous streak that brings it to life.

It’s followed by poppy alt-rock cut “Don’t Go” and a retro rock vibe on “Don’t Feel Like Feeling Sad Today.” The latter is a spark plug that clocks in just two minutes. Harrison strips things back on the emotional and intimate “Die For a Night,” which sees the singer playing an acoustic guitar with minimal other instrumentation. Harrison takes things home on a final rousing note with the upbeat “The Boy in the Black Dress.”

Yungblud presents a new side to an unpredictable artist. What the album lacks in variety it makes up for with cohesive lyricism.

Follow writer Mike DeWald at Twitter.com/mike_dewald.