It has been three long years since Chris Carrabba and his band released A Mark, a Mission, a Brand, a Scar and left the acoustic behind to plug into an electric guitar. Some fans felt betrayed by Carrabba's new musical direction and longed for the more intimate tracks on 2001's The Places You Have Come to Fear the Most. Others felt that the change in the music was positive, breaking the stigma Carrabba carried of being somewhat of a lightweight in the growing new wave of emo/punk/pop-punk/screamo/whatever.

With the release of his new album Dusk and Summer, an even larger distinction takes place in Carrabba's music that will probably both distance fans of his older work and earn some respect from more critical scenesters. Nearly every song on Dusk and Summer showcases Carrabba's growing talent for songwriting as he dabbles in the limitless possibilities of studio recording.

No longer just he and a guitar, Carrabba uses his one time back-up band as a now driving force in the music, not just filling the gaps between his vocals, but actually building the songs. The title track is the only song that seems to pay homage to 2001; just Chris and his beloved acoustic.

However, the other songs sound bigger than what Dashboard fans are used to. The first single (and opening track) "Don't Wait" demonstrates this new sound with high range, multi-layered vocals and an up-beat tempo. The heavy bass in "Slow Decay" is a pleasant surprise on the album, creating a deep brooding aura that seems absent from many of Dashboard's songs. Both "Rooftops and Invitations" and "Reason to Believe" feature pounding electric guitars that tear through Carrabba's strained vocals, sounding (at some parts) like Dashboard's tougher brother, Taking Back Sunday or even Carrabba's former band, Further Seems Forever.

The stand out track on "Dusk and Summer", though is the more subdued duet with Counting Crows front man Adam Duritz, "So Long, So Long." Stretching his limbs, Carrabba sets himself down at a piano and accompanies the acoustic strumming with a simply beautiful piece of nostalgic lost love. Carrabba's gentle vocals volley the music against the rough tone of Duritz, creating THE moment that makes this album complete. The growing intensity never becomes overwhelming or melodramatic, but settles itself in its simplicity.

The album ends with "Heaven Here," where a wailing Carrabba proclaims that "tonight we are the only ones who feel it." Featuring a simple and steady drum beat reminiscent of the Yeah Yeah Yeahs and the White Stripes, the band places the guitars in the background, letting the rhythm of the drums and Carrabba's vocals close out this collection of songs.

Aside from the musical aspects of the album, it will be everything Dashboard fans will expect: Ten songs about the cause, the coping and the consequences of lost and unrequited love. Though he might be criticized for being a 30-something that romanticizes his relationships to an unhealthy extreme (and then writes about it), Carrabba deserves credit for his growth and progression as a musician. Dashboard Confessional is no longer just a code name for a one-man project, but is now an actual four-piece band, looking to spread their wings and produce more complex and developed music. After years of baby steps, emo's poster boy has finally grown up.