Maroon 5’s latest album, fittingly-titled “Hands All Over,” anticipates the eager hands of many fans after a three-year hiatus. Since their first major hit, “This Love,” Maroon 5 has mastered the art of writing catchy, smash-hit records—tunes that are easily remembered; that reel in the big bucks; that attain multi-platinum, Grammy award-winning status. Nonetheless, bogged down by predictability, their newest LP fails to live up to its name.

“Hands All Over” definitely presents Maroon 5 at its most polished state in eight years. The band succeeds in producing pop tunes that complement their signature funky sound. Yet (or perhaps consequently) many of the songs sound too formulaic and perfectionist. There are no surprises in the album; all the melodies and bridges are rather predictable. For instance, in “No Curtain Call,” the background instruments lack inspiration and drag on monotonously. Though the lead guitarist, James Valentine, is capable of playing fresh, intricate phrases, he fails to deliver on this track.

However, the first half of the album highlights Valentine’s signature power-pop guitar riffs that help propel Adam Levine’s vocals. This combination makes the opening song, “Misery,” at once memorable and danceable. Maroon 5 makes feeling miserable in an abusive relationship sound anything but. This song highlights the band’s larger, more explosive and focused sound. At its core, though, “Misery” echoes the band’s traditional sound on “If I Never See Your Face Again” and “This Love.”

The second track, “Give a Little More,” succeeds in doing just that. The syncopated guitar riffs, Levine’s powerful falsetto, and effortlessly executed harmonies are reminiscent of disco. “Don’t Know Nothing” and the title track both offer slower beats, yet the repetitive, groovy, rhythmic bass lines that move in contrast with the overlying melodies combine for an overall funky, body-moving sound.

“Just a Feeling, “Never Gonna Leave this Bed,” and “I Can’t Lie” show off Levine’s smooth vocals which float in and out of his high-pitched falsetto and his throatier voice. These songs embody a balladic feel, offering more synthesizer and keyboard and fewer bass-powered progressions.

Though he’s a great singer, Levine overwhelms the album with too many vocals. There are times when the instruments should receive more of the spotlight, but are covered up with singing instead. To make matters worse, when you get past the feel-good vibe of this album and dissect these songs, the lyrics are all rather forgettable. For instance, in “How,” Levine sings, “I’m asking for your help / I am going through hell / Afraid nothing can save me but the sound of your voice.” This cry for help from a lover is painfully reminiscent of many other typical love songs. Though the band has grown, the theme of their music has not—the lyrics are still about girls: desire, break-ups, and learning to move on.

The deluxe edition of the album offers acoustic versions of “Never Gonna Leave This Bed” and “Misery.” These acoustic, stripped-down tracks offer more personality than do the original, power pop-propelled versions. The acoustic version of “Misery” actually conveys a feeling of misery, because of its honest, pleading sound. Adam Levine also succeeds in covering Alicia Keys’ hit, “If I Ain’t Got You,” by infusing his own bluesy vibe in-concert. These last three studio-free songs encapsulate Maroon 5 at its core.

Maroon 5 definitely demonstrates growth as a band in this album, shown by their attempt to branch out into new genres—”Out of Goodbyes” is a collaboration with the country band Lady Antebellum. In general, the songs are cut cleaner, and Adam Levine’s vocals sound stronger. Unfortunately, the band’s originality loses steam and fails to carry them out of their comfort zone.