Sob Rock is an ode to all the different eras of the sound of John Mayer. The album, his eighth, feels like a trip through the ages, with sounds reminiscent of both Room for Squares and even the oft-forgotten years of Paradise Valley.

One of Mayer’s goals on this 10-track offering was to venture deeper into the realm of pop music than he had in the past. But instead of heading straight into the belly of the beast, he takes measured steps with songs like “Last Train Home” and “New Light.” The former has a strong 1980s vibe from opening keyboards and guitar chords straightaway. He also enlists the help of Maren Morris, who sings backup to give it another layer of sheen without being an outright pop song.

“New Light” is a bit more upbeat and poppy and less rock guitar than Mayer typically employs, and a heavier backbeat. Since he doesn’t take the full leap, he creates a sound somewhere in the middle of pop and blues rock.

For those looking for Mayer’s deeply personal acoustic songwriting, there are songs here for you, too. “Shouldn’t Matter But It Does” is a slow-burning, heart-wrenching song about moving on from heartbreak, even after many years. The song reminisces on what the future might have been like, decisions he could have made differently and, ultimately, how, “it shouldn’t matter but it does.”

Another track where Mayer allows a glimpse into his soul is “Guess I Just Feel Like,” which sounds like an internal monologue set to a simple guitar tune. He sings about anxiety, disappointment and feeling lost; however, the song ends with a somewhat hopeful note and an extended electric guitar solo at the end. Lyrically, these songs could have from from2017’s Search For Everything. Sonically, they feel like a strong callback to 2012’s Born and Raised. It’s a blend that ends up working very nicely.

John Mayer is also no stranger to love ballads. Sob Rock is no different, as he includes a number of love songs to fuel the narrative that seems to be about time-traveling through his discography. The self-explanatory “All I Want Is To Be With You,” is sweet and slow Western composition. It’s not about grand gestures of romance or heartbreak.

“Til The Right One Comes,” is a love song in a sense, even if the subject here is someone he’s yet to meet. Mayer’s attention to detail with songwriting about love leads to a number of beautifully written, nuanced songs and has only gotten more complex as his career has developed.

A few songs here feel out of place in their experimental nature, in both sound and lyricism. “Why You No Love Me” could pass for a Jimmy Buffet cover with a lack of depth. “Wild Blue” had the potential to be better but was overdone with too many instrumental additions and vocal modulations.

Still, it’s good to hear from John Mayer again. It feels like this one was more about himself than the people who will listen to it. It’s sometimes too familiar, but occasionally, it’s transformative.

Follow writer Piper Westrom at Twitter.com/plwestrom.