Wyatt and Fletcher Shears, the twin brothers comprising musical group The Garden, have never conformed to music industry norms. More often than not, traditional pop music formulas are disregarded or upheaved by them, but this type of avant-garde and alienating music does not care if it is audience friendly.

Their music will never be played on the radio, and the Shears know that, therefore allowing themselves to go off the map and create something utterly unique with their new album Kiss My Super Bowl Ring. Coming out after their 2019 performance at Coachella, this album signals their transition from an underground project to a band with more mainstream attention.

The album opens with “Clench to Stay Awake,” a track that begins with soft-spoken vocals over melodic guitar and pixelated percussion before breaking down into something reminiscent of upbeat 2000’s pop punk. The song eventually devolves into crazed screaming before finally ending as a reflection of the beginning. These transitions pair well with the themes of desperation when losing control of one’s body and trying to stay in control of one’s mind.

The track, “A Struggle” follows a similar formula, oscillating between screamo and folksy guitar in the beginning, before exchanging this back-and-forth for a heavy, driving base and psychedelic electronics in the chorus. “Sneaky Devil” features swampy baselines and electronic percussion backing conversational vocals before devolving into pseudo-rap and eventually distorted screams.

The album’s title track, “Kiss My Superbowl Ring,” is a testament to the Garden’s nonchalant, unbothered attitude.

RELATED: Grimes reveals darker side on Miss Anthropocene, an album that explores the allure of destruction

“‘Kiss My Superbowl Ring’ is not to be taken literally, it’s basically a way of living. It’s an attitude more than anything,” Wyatt Shears said in a YouTube interview with Epitaph records.

Perhaps the most straightforward indie rock featured on the record, “Kiss My Superbowl Ring” is a catchy and enjoyable listen, as well as a welcomed break from its genre-flipping predecessors.

“A Fool’s Expedition” opens with heavy, reverberating guitar and pounding drums. Second-person insults rain down upon the listener in angry fervor. However, by the end of the track, it becomes apparent that the barrage of insults are directed inward, and a synthetic flute accompanies a hopeful message of self-improvement. “AMPM Truck” is another highlight of the record — a California indie tune with a hardcore punk twist about a brush with death after falling asleep at the wheel.

“Hit Eject” is quite repetitive, with more pseudo rap, standard trap beat, and keyboard sound-effects throughout, the song comes across as mediocre electronica more than anything else. “The King of Cutting Corners” is upbeat, an anthem of slackers, but the grinding drum machine and bizarre vocals produce a slightly annoying result. “Lurkin’” continues this low point on the album. Although it holds poignant commentary on the hypocrisy of the music industry, the attempted rapping clumsily stumbles over a repetitive beat.

“Lowrider Slug” elevates the album with a more straight-forward hardcore punk track, containing a simple Nirvana-esque guitar intro and driving percussion. Finally, “Please, F— Off” is more reminiscent of shock punk à la Mindless Self Indulgence. It addresses the audience at the end, breaking the fourth wall with its fairly blatant message. Otherwise, it seems like a throwaway filler track, giving the album a much less satisfying ending than its beginning.

Despite its low points, the Garden excels — as it always does — with creating something characteristically unique. In these days of alternative radio stations filled with what is quintessentially pop music, it is refreshing to have a truly alternative approach to rock music that is not afraid to break the rules. Hopefully in the future, The Garden will continue to embrace creativity and weirdness.