After 24 years, the Boise, Idaho-based Built to Spill is still carrying the torch for ’90s-style indie rock. The band’s latest release, Untethered Moon, is a loose yet tuneful affair built on fetching guitar hooks and plaintive vocals—an album that could just as easily have come out of 1995 as 2015. Likewise, Built to Spill frontman Doug Martsch is still very much the prototypical ’90s indie rocker—matter-of-fact but just a little obtuse, and given to frequent rumination and frequently racked with self-doubt.

“It is something I wrestle with, but it’s obviously not too big a problem,” says Martsch, acknowledging his navel-gazing tendencies during an interview from the road in support of Untethered Moon. “I mean, I’m still doing this band. I think most of us are struggling in some way, trying to improve, trying to prove ourselves to ourselves.”

Then there’s the matter of Martsch’s guitar-playing. Possessed of a trebly, eminently recognizable tone and a penchant for trenchant soloing, Martsch has been heralded as something of a post-punk guitar hero in the mode of Dinosaur Jr.’s J. Mascis, an acknowledged influence.

Martsch, however, downplays his playing, saying he considers himself more a songwriter than a guitarist—if, indeed, he considers himself anything at all.

“I like to play guitar,” he says. “But when I listen to what others do on the instrument, I feel like I’m pretty mediocre. I mean, I’m not all that good at basketball, either, but I really like to play it.”

Untethered Moon is Built to Spill’s eighth full-length studio release and the band’s sixth album on major label Warner Bros. And while you might make the case that Built to Spill has had a lower profile than some of its ’90s-era peers—think Pavement, Sebadoh, Guided by Voices, and the like—Martsch’s band has arguably been steadier and more enduring. This in spite of a roster that has included at least nine different members over the years, with many of those having left and returned to the fold at various points along the way. Martsch founded the band after the dissolution of his previous outfit, Treepeople. He says he always envisioned Built to Spill as a rotating cast of players, for reasons both practical and personal.

“When I first started the band, I knew I was going to be moving,” Martsch says. “So I would have to be changing the lineup anyway. But it also felt like it would keep the music from being stale. I always think about David Bowie and his career, and how he was always changing everything. You could never pigeonhole him. I wanted that kind of freedom.”

After nearly a quarter of a century with the same band, Martsch says he’s reached a level of comfort in his role as band leader and frontman. But then, his definition of comfort seems to allow plenty of room for uncertainty, and for a brand of introspection that occasionally borders on self-flagellation.

“When I look back at where we began, it’s really tough for me to see how we’ve evolved,” he says. “I guess I have trouble analyzing myself. In some ways, I enjoy it more. I’m more comfortable. I know that when we started out, we were a really bad live band. I guess I don’t know if it’s any good, still. There are some nights where I’m definitely not good at it.”

Martsch admits to having some uncertainty, too, around the future of Built to Spill, at least as a major-label entity. “We’re at the end of a deal with Warner Bros.,” he says. “And we’re still trying to learn about the landscape of music in this era, the era of the Internet and streaming. I’m in the process of trying to wrap my brain around that stuff.

“But I can still see me doing this in 20 years. That would make me, what, 67? That sounds about right. Playing with Built to Spill and making the music I play, it’s really all I know how to do.”

Built to Spill plays with opening act Love as Laughter at the Bijou Theatre (803 S. Gay St.) on Wednesday, March 15, at 8 p.m. Tickets are $24.