For its fifth album, The War On Drugs looked inward for musical and lyrical inspiration. While the songs weren’t specifically written for post-pandemic times, the lyrical messages of hope, fear and uncertainty resonate for many right now. Coming off a Grammy for A Deeper Understanding, the sextet was entering a new phase itself. I Don’t Live Here Anymore is a reflection of those feelings set to a soundtrack. The Philly rockers turn in a lush and expansive 10-track effort, with each song clocking in between four to nearly seven minutes long.

The album begins on a somber and intimate note with ballad “Living Proof,” which opens with light acoustic guitar strumming. Slowly, a piano joins, and then another guitar before Adam Granduciel’s warm vocal, asking “What have I been running from?” The instruments slowly layer until the full band joins. The vocalist’ delivery is poignant and makes you want to listen to every word and let it sink in, and then go right back and listen again.

Things begin to turn up for the upbeat for “Harmonia’s Dream,” an acoustic rocker big on classic rock melody. It’s a little Petty, a little Henley and a little Springsteen, but never too far in one direction, which makes it sound plenty unique. “It’s harder to find a friend these days/ Girl I’m sinking,” Granduciel sings of the loneliness and isolation he’s feeling. The song crescendos in a magnificent layered musical soundscape of acoustic and electric the guitars, with a sonically triumphant conclusion.

The War On Drugs turns in a solid effort on mid-tempo rocker “Change,” which has more of a classic rock and Americana feel. Again, the layering of instruments here (credit to the songwriting and production) is excellent. Put on a pair of headphones and you’ll be transported to a different place, with a musical expanse right in front of your. No instrument does too much of the work. They all simply fit together in perfect harmony.

The spacey “I Don’t Wanna Wait” then takes things in a completely different direction. Ethereal and atmospheric, the track wanders through the cosmos before locking in to a more alt-rock sound. The fuzzy guitars add a flourish, while Granduciel’s vocal even shows a hint of Bryan Adams’ earnestness.

The “then-meets-now” theme continues on “Victim.” The song has a synth and loop intro that wouldn’t sound out of place in the ’80s, but as it grows and speeds up, it evolves into an alt-rock tune. It’s one of several examples of The War On Drugs showing compelling dynamics.

The title track features a contribution from Lucius, who take it to new heights. Musically, the song isn’t necessarily reinventing the wheel, but the chorus is just so good, it’s such an infectious an inviting track that immediately grabs the listener’s attention and never lets it go.

The pace slows just slightly for acoustic ballad “Old Skin,” which evokes The Horrible Crows. The anthemic, sing-along-worthy “Wasted”  will be great on a stage. The guitar work tends is bright and full, with excellent layering that builds a full foundation of sound. Acoustic ballad “Rings Around My Fathers Eyes” is one of the more introspective tracks on the album. It’s a somber personal remembrance that really digs into a folk rock sound. As one of the shortest tracks on the record, it still packs punch. The record closely out with the breezy and upbeat folk of “Occasional Rain.”

Follow writer Mike DeWald at Twitter.com/mike_dewald.