After a relatively long break of a year for self-proclaimed “Boy Band” BROCKHAMPTON, the rap group returns with a new album for the times. A heavier and more solemn work than its predecessors, “ROADRUNNER: NEW LIGHT, NEW MACHINE” tackles topics like suicide and the state of America.

“ROADRUNNER” is the third album produced by the group after former member Ameer Vann was faced with a variety of sexual assault allegations and was removed from the band.

Ameer was the main voice on the group’s “SATURATION” trilogy, but was excluded from later works “iridescence” and “GINGER.” Now, devoid of Ameer and having vented their feelings of anger and heartbreak on previous albums, the group has produced an album about trust and faith.

Contrary to its subject matter and general energy, the album leans heavily into a retro feel, supported by its album cover and a number of its instrumentals. As a whole, it is much poppier than previous works, especially the choruses of certain songs, like Count on Me and I’ll Take You On.

While extreme poppiness has always seemed to be a goal in later works, it comes out in full swing here, with large amounts of stylized autotune to mimic modern pop.

While it is unclear whether they are laughing with or at the state of pop music, the effect is immutable and joyful; this energy assists in carrying you through the album, only stopping for repeated refrains, record scratches, and tidbits of recordings.

Unfortunately, stylistic effects can not be relied upon for energy production alone. Fortunately, present in all BROCKHAMPTON albums is a marked increase in ability from the vocalists.

In “ROADRUNNER,” though, this is accompanied by a decrease in quality on the side of the producers. The rappers are now able to twist the rhythm to their needs, but the rhythm itself is lacking. The instrumentals are less powerful, and often the music must rely on the vocals to carry energy through the songs.

Most songs lack a drive that was aggressively present in previous works, with repetitive vocal sections that slow the momentum of the album. The album is slower-paced, and, although this allows it to tackle different subjects and create a different tone, suffers from it.

The band’s relatively long break signals a lapse in creative ‘juice.’ Without some sort of major emotion to drive them forward, they lose an important aspect of their musical identity.

While their signature style still echoes throughout “ROADRUNNER,” it feels less true to BROCKHAMPTON’s nature and personality, which was the main component in attracting many to the group.

The album’s focal point is the suicide of member Russell Boring (JOBA)’s father. The Light, parts one and two, gives him the spotlight as he contends with this event. This serves as the emotional center of the album, as each member, and featured guests, tangle with their memories of father figures.

This is affecting and accounts for the more pensive experience of “ROADRUNNER” as compared to other albums. For the most part, the subject is treated with care and results in catharsis for both artist and listener.

“ROADRUNNER: NEW LIGHT, NEW MACHINE” is another fine entry into the discography of BROCKHAMPTON, a new step in the band’s evolution. While it is disheartening to hear that the band may stop producing music soon, “ROADRUNNER” is a comfort.

While it certainly does not compare to “GINGER,” it still carries the group’s signature charm, albeit with less energy. BROCKHAMPTON is a project that is artistic innovation, and “ROADRUNNER” is no different. It should be savored and appreciated, even with its diversion of tone.

(7/10)