The members of Cartel have always seemed to be locked in a teeter-tottering state, often finding themselves rocking back and forth between MTV stardom and Warped Tour acclaim. Between their initial success of “Chroma” and the subsequent failure of their self-titled album, it’s safe to say they’ve endured every up and down the see-saw has to offer.

In their latest studio effort, “Cycles,” something has definitely changed. No longer do they seem like a group of indecisive kids — they’ve come back onto the scene with authority and graduated on from their former playground shenanigans.

This time, Cartel avoids another tired attempt at a record and takes a giant step forward in maintaining longevity as a band.

“Cycles” doesn’t just pull you in, it captivates the entire auditory system. The album begins with intro track, “Let’s Go,” which starts with frontman Will Pugh triumphantly stating, “Let me re-introduce myself,” accompanied by optimistic guitar, layered over an excited beat. The song’s undeniably catchy chorus brings the listener back to feelings reminiscent of childhood bliss and keeps the spirits high well into the next track, “The Perfect Mistake.”

This song cuts in with a hard-edged, yet poppy riff, played with perfect guitar harmonization. The song’s huge chorus somehow manages to maintain a certain level of bravado even in the midst of a pop-saturated chord progression. Perhaps this is why the band has managed to thrive off the mainstream as well as the Warped scene for years.

Songs like “Faster Ride” showcase Cartel’s ability to continually write radio-sensible songs. What’s interesting about this track is that it has an almost old school rock ‘n’ roll feel to it, something that provides good contrast against Pugh’s pop-punk sensibilities. Catchy hooks are the key word here, and Cartel has been cultivating its essence since their humble Georgian beginnings.

What sets “Cycles” apart from Cartel’s previous efforts is the use of edgier, more angst-ridden tracks, offering an introspective look at failed relationships.

“27 Steps” is laden with haunting guitar and an underlying cynicism that is apparent in Pugh’s bitter imagery.

“Conventional Friend” further plays off this theme, with drums dancing around a sonically frustrated guitar riff, subsiding into a melancholy lull of emotion. By no means is Joseph Pepper and Nic Hudson’s guitar work complex, but it’s the raw emotion they put into the riffs that leave an impact on the listener.

The way that Pugh’s singing and the simplicities of the music work together seem to be the cornerstone for the album’s success.

In “See Me Now,” the effortless guitar work and drumming allows for Pugh’s incredible voice to shine through as the main focal point of the song. His vocal range has always been impressive, but here, a noticeable difference in vocal control shows a matured, more polished frontman.

Staying true to Cartel’s knack for inventive ballads, the album comes to its riveting conclusion with the epic “Retrograde.” A noticeably slower tempo sets the pace for the song, as the chugs of a guitar embrace almost dream-like synthesizer tones, playing elusively in the background. As the verse progresses on, the synthesizer swells into a crescendo and explodes into a powerful chorus that feels like it’s best suited for the soundtrack of a Hollywood blockbuster.

Easily, the song makes the list for “Cycles” top songs, if not Cartel’s entire discography.

In short, Cartel’s creation of dazzling pop songs should come as no shock — it has proven itself in the past. What should surprise is the band’s bold transition into a much darker arena, showcasing a portion of songs that present a more turbulent side of Cartel.

Where other bands have failed at broadening their sound, Cartel has capitalized on it. “Cycles” is not just good — it’s the kind of album you can find yourself cycling through again and again, and again.

Reach the reporter at dane.jarvie@asu.edu.