The band has stirred some controversy with their highly NSFW album cover, which they replaced with a censored equivalent on digital services like iTunes. The extreme difference between the two covers highlights the fundamental thing that makes The Hotelier such an important band: their all-or-nothing intensity. Even on Goodness, which is mellower and more mature than their last album, there is still a fieriness to everything the band does.

In terms of instrumentation, The Hotelier don’t stray far from their garage rock origins here. Loud guitars, driving bass, and pounding drums dominate the soundscape, but the familiar framework gives singer Christian Holden the opportunity to make the most of his incredibly expressive, pained voice.

This works perfectly on the stunning opener “Goodness, Pt. 2”, which opens with just Holden and bare bones percussion before dissonant guitars slowly shift into focus. The sound is vintage Hotelier, but the lyrics highlight the band’s development. They’re more abstract and subtle, a departure from songs like “Housebroken” from their last record that were undeniably powerful but also incredibly on the nose.

“A little bird from the side of sidewalk / sings me hymnals of comfort in pain / Said, "Give me you all disarmed and uncertain/and I promise that I'll do the same”, sings Holden.

“You in This Light” is downright sweet, the closest thing to a love song the band has made. It works so well because the band’s confessional, raw style makes the emotions easily relatable.

Closer “End of Reel” is vast and stirring, rising to a powerful, nostalgia-fueled crescendo. “I don't know what I want what I wants where I've been”, Holden barks.

The band’s authenticity is a powerful tool; it allows them to expand their sound without risking the loss of their core identity. You don’t have to be a fan of punk music or emo to be a fan of The Hotelier, you simply have to appreciate genuine, earnest emotion.