Ben Rector, one of Nashville’s most audacious new artists, recently released Something Like This, an 11-track album that takes listeners on an unpredictable ride of love, heartache and spirituality.

The record starts with “Let the Good Times Roll,” a rousing opening song that bombards listeners with a strong and abrasive brass section. The impromptu saxophone lines almost make the song feel like an upbeat Dave Matthews’ song.

The song maintains Nashville-esque originality, however, similar to that of The Civil Wars, with an enchanting back-up vocal section, giving the song breadth and complimenting Rector’s easygoing melodic lines. Rector and the brass section, specifically the saxophone, have an engaging musical dialogue that reels in listeners and gives the song a gripping, ominous quality.

In contrast, “Song for the Suburbs” is intriguing but instead reaches interest through the use of melancholy vocal lines that make listeners feel like Rector is guiding them on a musical trek.

Not only is Rector’s stylistic prowess exemplified in the dichotomy of the first two songs, but his vocal virtuosity is as well. Throughout the album, Rector successfully reaches the upper register of his vocal range, with careful falsetto and artistic expression while avoiding the whiny teenage boy sound that plagues contemporary indie-pop records.

The tracks “Never Gonna Let You Go” and “Without You” seem to go hand in hand. The songs mesh thematically and musically with bluesy sounding melodies, gracing listeners with choruses that ebb like waves of palpable emotion.

“Hide Away” similarly contains great musical taste and insight, but is a strategic roadblock, impeding the album’s driving momentum. The track features a semi-gospel feel and a slow-moving choral chant, making the song stand out as a unique detour from Rector’s intense, emotional ride.

While the introductory tracks captivate listeners with ardent tones and dynamic instrumentals, the middle of the album falters as it gives the impression that Rector is trying too hard, bogging down the album’s vigor.

For instance, in “You and Me,” Rector sings a recurring “ha-ha” in falsetto that sounds more like a melodic rendition of Enya than his own personal style, and it sticks out like a sore thumb. Though Rector’s artistic expression is usually effective, it is questionable on this track.

Likewise, on “She Is,” Rector seems to emulate bands like The Fray and Maroon 5 — again not making the song his own. The song does, however, have catchy lyrics and an echoing chorus that redeems the song for some of its poor taste. The awkward stylistic homages are minor details in Rector’s overall project.

Rector does, however, vindicate himself as the album finishes. Tracks like “Wanna Be Loved” and “Way I Am” exemplify Rector’s expertise as a performer and album-maker. The songs link together fluidly, with cohesive transitions that will make listeners feel like they’re listening to an extended work of art.

“Falling in Love” also speaks to Rector’s creative touch, featuring vibrato whistling — odd at first, but sure to grow on listeners — interspersed with passionate vocals and his signature falsetto. The song is framed perfectly, setting up for the album’s finale.

“Home” closes the album with an uncanny sense of gusto and fortissimo that could easily rival a gospel choir or a marching band — or both. Rector creates a surreal vibe by giving the finale of his album sonic breadth along with touching vocal harmonies and jazzy, sweeping, keyboard passageways.

At first listen, Rector’s finale seems like a cacophony of oddly arranged instruments and harmonies, but the overall effect is unique and satisfying. By “Home’s” finish, listeners won’t feel like they’ve finished a song, but a musical work of art that spanned 11 tracks.

One of the biggest strengths of Something Like This is Rector’s ability to construct a streamlined work of art. All the songs in the album fit effortlessly together, and when listeners play the album through — from start to finish — Rector’s genius shines through.

The only qualms listeners will run into will be the repetitive drumbeats and the lack of overarching, thematic diversity. Many of the songs appear, at face value, to be about love, heartbreak and romance.

For some, this might get boring.

Something Like This, however, is an incredible indie drop; the album’s flaws are minor. Rector’s career is just beginning, and he already has an incredible amount of versatility as a vocal artist and an alarming range of songwriting creativity.