After releasing the critically acclaimed and resolutely gorgeous Our Endless Numbered Days in 2004, Sam Beam of Iron and Wine was left in a difficult situation. He’d already accomplished everything he could within the constraints of lo-fi, acoustic folk, but, thanks mainly to his angelic vocals, he had created such a recognizable sound that any stylistic shift ran the risk of alienating his listeners. Smartly, Beam began to expand slowly with the Woman King EP in 2005. In the Reins, his 2005 collaboration with Calexico, further advanced Beam’s sound, proving that his whispery voice could still dominate in a full band setting.

“Pagan Angel and a Borrowed Car,” the first song off of Iron and Wine’s latest full-length, The Shepherd’s Dog, dismisses any doubts that Beam’s post-Numbered Days projects were just one-offs. For better or worse, “Pagan Angel” solidifies Iron and Wine as a bona fide band. The song bubbles with plucky pianos, thick vocal harmonies and even some recurring backwards guitar. “House by the Sea” broadens things even further, introducing horror movie synths and programmed beats. “Boy with a Coin” rides a simple beat and an arpeggio-laden guitar line reminiscent of Beam’s earlier work, but distinguishes itself with some oddly subdued handclaps, haunting steel guitar and brief squalls of feedback.

This robust texture takes some getting used to. At first, the Tom Waits stomp of songs like “Wolves (Song of the Shepherd’s Dog)” and “Peace Beneath City” seem curious, but upon further listens they become more and more intoxicating. After listeners digest the more pronounced musicianship, Beam’s voice slowly regains its prominence, producing an album as pretty as his early work, just with more happening in the background.

The Shepherd’s Dog might still turn some fans off, but it’s a rewarding listen for those who can get past the initial disorientation. It sacrifices some of the immediacy of Beam’s early work, but the results are far more sonically interesting.