Boston working class Celtic punks Dropkick Murphys have geared up to release a new album for their 25th anniversary. Turn Up That Dial reflects the enthusiasm the band has put into its latest effort, with an array of vibrant tracks that sees it looking to stir up mischief and reflect on interpersonal relationships with each other and family.

With wailing bagpipes and reedy accordions, Dropkick Murphys have maintained their status as pub rock cornerstone. However, they do take a noticeably folky approach on the album, incorporating banjo and a surprising amount of acoustic guitar melodies. While the album delivers some interesting songs, it’s weighed down at times by the more juvenile aspects on other tracks.

Dropkick Murphys start strong, however, with the upbeat jig of the self-titled opening track. Lead singer Al Barr expresses his love of music as a means of escape. It’s followed with the bagpipe-heavy “L-EE-B-O-Y,” a driving rock anthem that celebrates Lee Forshner as the “worlds best piper.” “Middle Finger” opens with accordion accompanied by rattling acoustic guitar strings, promptly kicking up the tempo to deliver a loosely rebellious ode to the polite gesture many people exchange, particularly in traffic. But the song feels a bit like it’s trying too hard to appeal to be rebellious in the same way a teenager uttering his first four-letter word.

“The Queen of Suffolk County” maintains the folky aesthetics of the previous song as Barr describes the thrill-seeking mannerisms of the titular character. “Mick Jones Nicked My Pudding,” then, is a kiss-off to The Clash’s lead guitarist for… stealing Barr’s pudding? It’s all in jest. On the song, the harder, electric-guitar-centric melody brings about a more traditional punk melody.

The requisite drinking song comes next. The tongue-in-cheek celebratory “H.B.D.M.F” is genuinely a lot of fun and might be the most subversive song on the entire album.

“Smash Shit Up” (not a cover of the Damned’s “Smash It Up) opens with accordion and a distorted backing electric guitar. The drums then kick in with a marching tempo and a bass line eerily reminiscent of the Dead Kennedys’ “Let’s Lynch The Landlord.” Barr then both calls for unity and takes jabs at Donald Trump’s mishandling of the pandemic on “Chosen Few.”

Closing tracks “City By The Sea” and “I Wish You Were Here” are the emotional heart of the album, with the former serving as a loving ode to Boston, and the latter a eulogy for Barr’s late father.

“I Wish You Were Here” can easily be read, also, as a eulogy for the lives lost over the course of the pandemic—without directly alluding to it, which makes the song quite touching beyond its message. Dropkick Murphys have continued to maintain their relevance in the modern punk scene through their active role in their community while sticking strongly to their roots, all without stagnating stylistically.

Follow editor Tim Hoffman at Twitter.com/hipsterp0tamus.