Tyler Posey, “Unravel.”

Actor-turned-musician Tyler Posey spans the pop-punk subgenre songbook on Unravel. His debut LP is heavily influenced by Blink-182 and Sum 41.

But the ferocity of opener “Get Out Alive” still arrives by surprise. It’s quite the battle cry, hoisting screamed vocals, a fist-pumping chorus and a top-speed tempo.

It shouldn’t come entirely as a surprise that former “Teen Wolf” TV series actor Posey is adept at this. He’s played in two pop-punk bands and been a part of a handful of other collaborations. It’s this experience that he’s most certainly applied to his solo work.

The record is an interesting byproduct of the pandemic. Posey was coping with anxiety, isolation and intoxication during the past few years. He harnessed his emotions and turned them into a full album’s worth of material. On the second track, “Attic,” it’s easy to hear a little Blink infused with Nirvana’s rawness. The screams return for “Lemon,” a driving hard rocker that sees Posey self-contemplative in his decisions.

“I’m burning off my fingertips/ It’s never enough/ I don’t know what to make of this, so I’ll run,” he sings.

On other songs, Posey taps into a more melodic iteration of pop-punk. “Understand” is more of a Blink-esque anthem. What’s surprising is the material remains fairly dynamic and that Tyler Posey is a believable narrator. The bass notes of “I Fall Alone” certainly also evoke Mark Hoppus.

One contributing factor to the authenticity is co-production by John Feldmann. The Goldfinger frontman has helped lead the pop-punk revival, at the helm of some big albums.

The hard-edged “Standing on the Edge” recalls a different pop-punk contemporary: Sum 41. The riff-heavy rocker sees Posey questioning the world around him and how he fits in.

“Even my songs are sick of me/ They all say the I’m crazy,” he sings.

“Hands and Knees” and “World Class Loser”keep up the momentum. The former is a quick and punchy punk rocker that checks all of the boxes for a catchy singalong. The latter dials in an effective dynamic between hard and soft. The first change of pace arrives with “Gravity,” an acoustic ballad replete with strings and orchestral elevations. Posey uses the space metaphor to describe his own loneliness. There’s an earnestness to the song and its message that feels much like Simple Plan in its execution.

The mid-tempo “Shit Parade” leans more into pop theatrics with beats and synths over hard-edged and distorted guitars. That theme, of course, carries forward on “Piece of Shit,” an oddly anthemic song about Posey trying to get his life together in the wake of a break-up but never quite getting there. The acoustic pop-punk parade continues on “Don’t Mind Me.”

The ocean waves crash into the intro of “Runnin’,” which leans into the ska side of pop-punk. Once again, Posey is a surprisingly effective messenger here and it’s one of the album’s high points. That energy keeps up on punchy ballad “Out Loud,” which is comparatively subdued yet almost danceable. The album closes on a pair of ballads. The first of them, “Sing,” is primarily acoustic, while the following title track crescendos into a heavy rocker.

Posey is a good writer and if anything, too prolific. The album’s 16 tracks sometimes delve into some familiar territory, but the material is otherwise a fun listen.

Follow writer Mike DeWald at Twitter.com/mike_dewald.