Title Fight, the upcoming and promising young act from Kingston, Pa., released its second studio album, “Floral Green,” on Tuesday, Sept. 18.

Song by song, the album proves to be a recipe of complete originality, using rare ingredients like Ned Russin’s screechy vocals and Jamie Rhoden’s vociferous singing style. Both are showcased bravely throughout the 11 songs on the record.

The opening track, “Numb But I Still Feel It,” abides by the potent, rolling punk style heard in its previous album, “Shed.” This song features an energetic but provocative intro, foreshadowing the adrenaline of the 10 subsequent tracks.

However, it reminds the listener of an earlier Title Fight sound through both the primitive quality of the lyrics and the music’s subtle protest of the band’s over-produced antagonists in the punk and indie scene. The lyrics resemble patterns of previous work, mainly dealing with self-disappointment.

It was easy to tell after hearing the fourth track, “Secret Society,” that the band intended for the verse of this song to be one of the album’s hooks. “I made promises that I can’t keep, I fell asleep” is the first line you’ll most likely remember after hearing it only once.

Ironically, as the band tours with bigger names, acquires a wider fan base and broadens its means of producing a record, it seems to gravitate towards an increasingly rougher sound, likening a basement sort of grunge. After all, the album was tracked live, making the listener feel as though they are in the room, or dim and dank basement if you will.

The band’s raw cuts also seem to be injected with something old, something rawer. The final 30 seconds of “Secret Society” sound very similar to an old Pixies song that fell through the cracks of the late 90s, especially in the way the lead and rhythm guitar interact with each other – their conversation is almost hearty.

This is a relationship that frequents the 11 tracks and provides a brilliant contrast to the dirty, distorted chord progressions that consistently seem to be the band’s main feature.

While the Pixies, hailing from the University of Massachusetts, was a pioneer band of something new in the Pioneer Valley, Title Fight is uncovering something old through methods like those of the countless bands that came before 2000.

This trend continues with track nine, “Calloused,” where the chord sequence sounds like something straight off of Nirvana’s “Nevermind,” which was released in 1991.

Other songs such as “Lefty” and “In-Between” pass along intros that sound like a resurrection of Sonic Youth, sounding far from animated and almost comatose. Title Fight is a time capsule that Pennsylvania’s music scene was too impatient to wait more than 15 years to dig back up.

It is in songs like “Lefty,” the second to last track, where Title Fight displays how exceedingly mature it have become since its first full-length album. The chords border on jazzy and the voices of the two singers become pastoral and submissive to the technicality of the instruments, succumbing to the overall cohesiveness of the song’s elements.

Many songs from both albums end with instrumental explosions of personality and zest. The gradual slowing of pace and dimming of distortion met with the continuation of whatever “jam” is occurring is a purely soulful element that is enacted by each band member’s unyielding musicianship.

The band shows further brilliance in its experimentation with the more contemporary genres that don’t necessarily belong to them.

It is safe to say that the band’s first single off of “Floral Green,” called “Head in the Ceiling Fan,” is the boldest on the album and is its biggest statement as a band.

This is where a punk band proves that it can write something that is comparable to the post-rock, swinging ambient anthems that come out of bands like Explosions in the Sky – a band that writes six- to 10-minute soft, but epic instrumentals.

Title Fight managed to get pretty close to this style while lingering within its own predetermined punk rock tendencies, keeping it just under four minutes and maintaining relatively graphic lyrics, which add irony to the cloudy, surreal flotation of the gentile reverb, breathy vocals and unanimously slow pace.

Whether Title Fight is truly borderless or subtly ambiguous is up to the listener. However, it undoubtedly pervade the ethereal space that hovers above all genres of music, picking and choosing what it wants and blending it together with all of its raw and rough qualities that it refuses to sacrifice.

These are the organic efforts that make Title Fight what it is and what “Floral Green” truly  is: a verdant piece of art.

Christian Hegland can be reached at [email protected].