With the release of their sophomore album “Sound and Color,” Alabama Shakes swaps a bit of their Southern twang for psychedelic experimentation. In the three years following the release of their debut album, “Boys & Girls,” the four-piece has clearly matured their sound.

The high production value of the instrumentation refines the band’s previously distorted sound, without losing its grittiness. The title track, with its layered vibraphones and violins, shows a softer side of the band’s fiery soul-rock. Songs like “Dunes” and “Gemini” explore more subtle and modernized aspects of Southern blues, adding in sparse, bright percussion, reverb and echoed vocals.

Despite their new sound, Alabama Shakes still manages to hold listeners’ feelings in the palm of their hands — hitting listeners with heartbreak one moment and encouraging them to stay strong the next. Lead singer Brittany Howard’s unreserved and breathtaking belting sounds like Etta James singing garage rock and serves as the emotional bedrock of the album. “Sound and Color” testifies to Howard’s ability to sing in various styles, as she captures whatever dynamic her bandmates throw at her with graceful ease. Howard’s powerhouse voice, despite being the main driving force behind the album’s emotional momentum, highlights the weak lyrics — generic, undetailed accounts of nostalgia, love and loss. The lack of lyrical revolution, however, can be overlooked on songs like “Gimme All Your Love,” a funk-influenced track featuring a heartfelt, charged chorous with deeply resonate vocals.

Despite failing to amaze lyrically, Alabama Shakes are taking risks with drastic changes to their sound. The roots of soul would be impossible to dig out of the group’s foundation, but they manage to seamlessly weave in melodies reminiscent of D’Angelo and classic rock. With such variety, however, also, comes confusion, as the album’s lack of cohesion makes it hard for the listener to hold onto more than a few standout songs. “Don’t Wanna Fight” is one such example, as it is loaded with catchy guitar riffs alongside Howard’s compelling cries of “Why can’t I catch my breath? / I’m gonna work myself to death.”

Though “Sound and Color” fails to bring anything revolutionary, Alabama Shakes demonstrates that, ultimately, it will move and shake its listeners. The album’s variety — which is reflected in its name — manifests itself in expermintation, which explores every facet the band has to offer. The variety reflects the album’s name and manifests itself in experimentation, exploring the dualities in the listener and the band. Between Howard’s clear emotional power to the band’s willingness to venture into new territory, “Sound and Color” continues to surprise listeners, for both better and worse. While its experiments are not always successful, the band has presented fans with an impeccable summer album to enjoy anytime — whether they are sprawled out in a park or speeding down a hot Southern highway.

A version of this article appeared in the Tuesday, April 21 print edition. Email Hannah Treasure at [email protected]