When pop-punk outfit Fall Out Boy announced its breakup (excuse me, “indefinite hiatus”) at the end of 2009, nobody was too surprised. Compared to its two predecessors, 2008’s “Folie a Deux” was kind of a flop, and the band dynamic had become tense. Three years and multiple side projects later, Fall Out Boy is back again with its presumptuously titled new album “Save Rock and Roll.” What the record lacks in focus it makes up for in energy, making it clear that Fall Out Boy is back with renewed vigor.

“Save Rock and Roll” starts off strong with the album’s first two singles, “The Phoenix” and “My Songs Know What You Did in the Dark (Light Em Up).” “The Phoenix” is a theatrical declaration of Fall Out Boy’s return, layering Patrick Stump’s earnest vocals over a strange mix of orchestral instrumentals and electro-pop beats. Although the song comes across as a bit grandiose at times, its powerful chorus and repeated cries of “put on your war paint” set an energized tone for the rest of the album. Lead single “My Songs” has a slightly darker vibe—and the repetitive chorus gets a bit grating by the end—but the verses are punchy and memorable.

After that, the album becomes somewhat disjointed with all manner of influences popping up in every track. Some of the songs pass as pop music, like the fun and frenetic “Alone Together” or the almost One Direction-esque “Young Volcanoes.” Others have more of a hip-hop sound, like “The Mighty Fall” (feat. Big Sean). In the midst of all this confusion, though, is a gem of a song called “Just One Yesterday” (feat. Foxes). The track starts off sounding vaguely Adele-like before launching into a moving chorus that features British singer Foxes. Foxes also does a fantastic job with the song’s bridge. In fact, she’s pretty much the only guest artist that adds anything to the album.

After a bouncy ode to young love called “Rat A Tat” (feat. Courtney Love), the album ends on a high note with its melodic title track. Ironically, the song “Save Rock and Roll” (feat. Elton John) is not at all rock ’n’ roll; it’s more of a ballad. It wraps up the album nicely and highlights Stump’s soulful voice.

In the end, “Save Rock and Roll” has a lot in common with its relatively unsuccessful predecessor, “Folie a Deux.” Both albums involve a fair amount of experimentation and a barrage of guest artists, causing them both to stray a little further outside of the pop-punk realm than longtime fans may be comfortable with. Despite these similarities, it’s clear that Fall Out Boy has matured since its last release. Gone are the days of unintelligible vocals, whiny lyrics and nonsensical song titles. Rather, the new-and-improved Fall Out Boy sounds markedly more confident, sincere and musical. This new album certainly isn’t destined to revolutionize the rock ’n’ roll scene, but it just might reestablish Fall Out Boy as the pop-punk powerhouse it once was.