The follow-up to 's 2017 debut, , takes the cinematic, stylized art pop of wispy-voiced vocalist and producer in still more adventurous directions. After setting the stage with the sultry, retro chamber pop of "Doctor Says" -- replete with string flourishes, early rock references, and Twin Peaks-ian echo effects -- it veers into a devoted disco on songs including "Sirens." With reference to a "hot summer's day," that track slinks across the dancefloor in platform sandals, with cowbell in hand and a brass section at the ready. They revisit the style later, on the dance club-themed "Limousine." Partly inspired by a trip by to visit family in Argentina, makes musical reference to South America with touches like the tango influence on "Doctor Says" and the sun-tanned vintage vocal pop of "Song for the Trees," which offers steel guitar, ukulele, and vibes of both kinds. Passing moments, places, and encounters make up the bulk of the track list's subject matter, however, and "Wednesday's Baby" concerns the companionship of 's rescue dog. An intimate, affectionate song, it mainly sticks to acoustic instrumentation, as does the theatrical "My Elevator Song," whose playful approach involves a walking bass line behind warped chamber pop. The album's closing title track has the sveltest arrangement yet, with just layered vocals, strings, and keyboard-based components until electronic noise and effects join its score-like finish. Mercurial but persistently larger than life, even in quieter moments, the sophomore set doesn't yield quite as many memorable hooks as 's debut but still holds fascination. ~ Marcy Donelson