In 1995, the Goo Goo Dolls released “A Boy Named Goo,” a mostly pop-punk album reminiscent of the Green Day or Offspring styles of the time. Nestled among the power chords was a track called “Name.” The acoustic ballad put the band on the Top 40.

Following the formula for success of “Name,” three years later the band released “Dizzy Up The Girl,” which yielded several similar hits.

For its eighth album, “Gutterflower,” it seems the band made a seamless continuation of “Dizzy.” However, upon closer inspection, the muscular, anthemic choruses are there, but Johnny Rzeznik’s lyrics are much darker, no doubt due to Rzeznik’s recent divorce.

“Gutterflower” almost has the feel of a concept album about love gone wrong, with Rzeznik providing anxious commentary rife with images of dislocation and agitation. Luckily, Rzeznik’s knack for clever, descriptive lyrics gives “Gutterflower” a new angle to an old idea. He paints pictures while creating dark, edgy characters that would feel right at home in a David Lynch film.

In the opening song, “Big Machine,” Rzeznik deals with anger and isolation as he sings, “Having sex and loneliness/ Take what’s yours and leave the rest so I’ll survive.”

The album doesn’t have the open tunings of “Slide” or “Black Balloon.” Rzeznik and Co. decide on much more straightforward rock.

“Sympathy” is the only song where an acoustic guitar is dominantly used. It’s a surprisingly upbeat sad song with a country tinge to it.

Rzeznik’s dark lyrics lend themselves to a heavier sound, making “Gutterflower” more like the Buffalo band’s early work when they sounded more like the Ramones than Cat Stevens.

The punk sound is not surprising since the Goo Goo Dolls enlisted the help of Rob Cavallo, the producer behind Grenn Day’s multi-platinum album “Dookie.”

“Gutterflower” is another Rzeznik masterpiece, but if you were hoping for another “Dizzy Up The Girl,” you’ll be sorely disappointed.