For the better part of a decade, Welsh progressive/heavy rock trio Godsticks has proven to be among the most distinctive, driven, and fetching bands in its field. Comprised of Darran Charles (guitar/vocals/keys), Steve Roberts (drums/keys), and Dan Nelson (bass), Godsticks established its vision from the get-go, as 2009’s eponymous EP was a powerful and refreshing collection of dynamic, bold, and confident pieces bursting with aggressive timbres, hypnotic rhythms, and dense vocals. Of course, its two full-length successors—2010’s Spiral Vendetta and 2013’s The Envisage Conundrum—upped the ante in every way. Fortunately, the band’s third LP, Emergence, continues the trend by delivering another engrossing, refined, and inventive sequence. Like its predecessors, it’s a bit repetitive (which could be a drawback for some listeners); however, its maintained vibe actually helps it feel more cohesive and substantial, like a single statement instead of just a series of tracks.

In composing Emergence, the band consciously aimed to move from “complex crossover progressive music to a more focused, heavier style . . . [with] more concise songwriting filled with addictive grooves and memorable choruses.” Furthermore, Charles has said that they aimed for works that “maintained a stylistically consistent theme throughout,” and whereas guitar and keyboard “pretty much shared duties . . . on the early Godsticks releases,” Emergence finds the former instrument leading the path. This new direction could’ve led to a more stilted and generic approach, but Godsticks managed to avoid such drawbacks by infusing each piece with captivating energy and alluring arrangements (courtesy of several guests, such as Bruce Soord of The Pineapple Thief). It may present a more confined sound, but it retains everything that makes a Godsticks record special.

Take, for instance, the guttural riffs and distortion that start the album (in “Below the Belt”). These thick bursts, coupled with Charles trademark vocals (which are simultaneously mellow and forceful) and the relentlessly gripping rhythms, make for an extremely abrasive but enveloping start to Emergence. In fact, the latter half of the track ventures into some incredible stop/start trickery as Charles issues a short but sweet double-track solo. It’s quite impressive, and it definitely establishes how the aforementioned revised method still yields classic Godsticks moments.

“Much Sinister” is a bit funkier, with an emphases on layered singing. In contrast, “Exit Stage Right” veers toward metal at times, with blisteringly fast playing; however, there’s also a subtle psychedelic edge to its most serene passage, which is definitely a nice deviation. With “All that Remains,” Godsticks displays a softer side, as both its tones and melodies are lighter and more intimate, with acoustic guitars, violins, and delicate percussion serving the sentiments perfectly. Charles and guest vocalist Kaysha Louvain achieve a charming duality too.

Later on, “Once Percent” provides Emergence with some of its catchiest riffs, harmonies, and rhythms, while the title track evokes the sinister nature of some early ‘90s grunge (juxtaposed by the intricacy of something like Train of Thought by Dream Theater). Also, Charles sounds especially commanding here, like a bellowing leader motivating his listeners like troops. A bleak instrumental prelude called “Leave or Be Left” (which is remarkably affective for such a relatively simple composition) melts into the final song, “Lack of Scrutiny.” Aside from bring the lengthiest piece here (if only by half a minute), it’s likely the most ambitious and diverse too, incorporating horns, dizzying guitar patterns, soaring vocals, and steadfast percussion before it’s finished. All in all, it, like Emergence as a whole, sets a new benchmark for what Godsticks can achieve.