Car Seat Headrest, the patron saints of hooky, frustrated indie rock, almost considered splitting up.

Following the release of the band’s 2020 studio album, Making a Door Less Open, which toyed with a dancier, more electronic sound, frontman and music nerd icon Will Toledo contracted long COVID thwarting the remainder of the 2022 tour and sidetracking plans for a new album.

But Toledo emphasized his well-being over the strict tour schedule regiment, and he improved by spring 2023. The Scholars, released on Friday, sees the band discover newfound collaborative strength following a major setback.

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From the jump, there’s a clear shakeup in the band’s hierarchy. Gone are the days of 2011’s Twin Fantasy, when Toledo exclusively wrote and performed material. While a 2018 re-recording of Twin Fantasy included efforts from other band members, The Scholars marks the first time that they each received writing credits for material.

The album begins with an immediate sound switch-up, replacing the herky-jerky electronics of Making a Door Less Open with thunderous, full sound that captures the energy of a band newly at ease. Punchy drums accompany lead guitarist Ethan Ives soaring, overdriven power chords, while Toledo’s signature nervous howl is extensively multi-tracked for a rich, moving effect.

“CCF (I’m Gonna Stay with You),” the album’s opener and a personal favorite, begins on a slow burn, eventually building to a triumphant peak. Toledo sings of “a blind coyote missing half of his jaw” and leaving “the dark,” mirroring his own recent recovery. The chorus crashes in as Toledo approaches vocal ecstasy, setting the stage for the rest of the heavy, frollicking tracks.

Fans are no stranger to the band’s sprawling concept albums, but The Scholars takes the cake as their most grandiose, complex work yet.

Through nine tracks of widely varying lengths, Toledo and company weave a dense, nearly impenetrable rock opera soaked with religious imagery about a medical student named Rosa, who discovers she can heal patients by absorbing their pain. Through her perspective and an ensemble of other characters, Car Seat Headrest look to rock opera legends like The Who, David Bowie and Genesis for guidance.

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“Planet Desperation,” the album’s lengthiest track, features Toledo joined by the rest of the band on vocals, helping sell the illusion of an extended cast of characters. Rapid changes in pace keep listeners on their feet, ranging from mystic hand drum madness to quiet, organ-driven hymns.

But The Scholars ultimately lacks the cohesive narrative that made its forebears hugely successful. Toledo’s penchant for deep literary references and esoteric lyricism makes for a rewarding listen — that is, if listeners are willing to dive down a research rabbit hole to fully grasp the songwriter’s design.

While the band imitates singer-songwriter Pete Townshend’s crashing, youthful hard rock, they struggle to write melodic, poppy songs that can easily fit into a larger narrative. Not even The Who’s Quadrophenia was this opaque, let alone Tommy.

But the average listener can still appreciate The Scholars’ artistry and exquisite songcraft, even if some of the tracks stretch to more than 18 minutes in length.

“Gethsemane” is another standout, originally released in segments as part of an alternate reality game. A musical suite that morphs into musically dissimilar parts, it recalls the stuttering, repetitive organ of The Who’s “Won’t Get Fooled Again” halfway through before launching back into pounding indie pop, showing that the band can still pull off great lengthy epics, even if they get a bit carried away.

The Scholars has big aims that it doesn’t always meet, but it’s ultimately a success for Car Seat Headrest and a positive sign for the group’s continued future.