After two decades and eight albums, Swedish neo-psychedelic trio Peter Bjorn and John has developed an unduplicatable chemistry. The band wears this collective identity on its sleeve, combining the first names of vocalist-guitarist Peter Morén, bassist Björn Yttling and drummer Johan Eriksson in its name. The natural way the three play off each other allows them to emphasize their respective songwriting approaches on Darker Days.

There’s a noticeable contrast between each song on Darker Days, due to each member taking ownership of the respective songs he wrote. The result retains a cohesion while presenting a broader swath of material. The Motown piano rock feel of “One for the Team” is a far cry from the chilling dream-pop ambiance of “Velvet Sky,” but these guys present their ideas succinctly and intuitively.

The syncopated electric guitar riff of “Every Other Night” and the acoustic jangle of “Living The Dream” find common ground over tight, adventurous songwriting. Neither of these songs pushes past what Peter Bjorn and John are already known for, but it’s not like the band built its reputation on generic music. There’s always an extra sonic layer or atmospheric interlude to keep you interest. The former reinstates Morén’s self-deprecating sense of humor, as he sings, “Kicking myself in the morning/ Kicking myself at night.”

“Wrapped Around The Axel” gives a psychedelic take on latter-day Muse with its plodding drum and bass groove. From this foundation, it constructs a unique soundscape layering tremolo mandolin and electric guitar in a sticky guitar lead. From this memorable arrangement springs a narrative revolving around the aftermath of a broken relationship. Similarly, the sequenced percussion of the title track gives its droning organ and bouncy acoustic guitar strumming a multifaceted impact. Peter Bjorn and John can retain their originality within more familiar contexts but Darker Days breaks some new ground for the band as well.

The quiet tom-tom rolls, droning synths and harmonious bass lines of “Silicon Valley” stray away from traditional sonics and take a shoegazey direction. The walls of reverb-soaked guitar engulf the rhythmic pulse, but the song maintains direction thanks to the inexorable connection between the musicians.

The biggest curveball comes with the nearly nine-minutes-long closer, “Heaven and Hell.” Its simple beat and modulations gradually acquire more layers, until it blooms into a polyphonic jam. At times, multiple melodies seem to be happening at the same time. It’d be interesting enough as it is, but the song’s last two minutes drop to a serene keyboard ambiance. Add some introspective lyrical musing, and a solid addition to a consistent discography comes to a fitting close.

Darker Days is the sound of an experienced band experimenting with the status quo. It’s not a game changer in the overarching rock scene, but Peter Bjorn and John didn’t set out to reinvent themselves. They instead encouraged each other to pursue their eccentricities. The results are smart, well-executed and diverse.

Follow editor Max Heilman at Twitter.com/madmaxx1995 and Instagram.com/maxlikessound.