has been busy since 2013's . He's produced two albums by ( ), who returns the favor by appearing here, and records by , , and , as well as playing on 's and ' He's also musical director of ' touring band. Like his previous outings, is drenched in the sounds of his record collection, but this time around he's cast his sonic net considerably deeper and wider than the Laurel Canyon and yacht rock-isms so entrenched in its predecessors. It's sprawling at nearly 80 minutes, and lavishly packaged -- especially the LP. While the aftermath of a broken relationship is the obsession behind these songs, insists this isn't a concept record. However, the truth of the matter is that it might as well be, as he charts the various stages of attraction, desire, hope, love, conflict, and romantic dissolution. To aid him in this massive venture, he's enlisted a large cast of musicians who include pedal steel ace , drummer , and a host of backing vocalists -- including . 's love of mid-'70s is entwined on the glorious "Loving You," with proto new age pioneer on zither and duet vocals as poignantly backs them in a soulful drift. "Trafalgar Square" is saturated in 's love of 's work with . Another album highlight, "There's a Light," pays a sideways homage to 's spirit-lifting pop. worship frames "Miriam Montague" -- complete with a string trio. combines his respect for while simultaneously offering tribute to 's "Boys of Summer" in the same track. In the haunted "Living with Myself," warm, spacious, bubbling synths and glorious backing vocals by carry the foreground as 's lap steel swoops and whines in the margins. also proves an inspiration in the pulsing layers of cagey synths and assorted other keyboards and strings on "Hard to Get Over." "49 Hair Flips" reflects the influence of (circa ) and late composer as well as early girl group rock & roll. Its lyrics engage raw sexuality, the perils of social media, and forlorn longing. They don't quite get it; in fact, they point at the problems with clearly needs an editor: only three of its songs are under five minutes; his lyrics are so full of images, often in jarring juxtaposition to one another, that they're clumsy. It would also be nice -- next time out -- to hear leave his record collection on the shelf and rely on his own production inspiration. The guy has the chops to stand on his own. These are quibbles, however. is dizzying in ambition and (mostly) dazzling in execution. It offers hours of enjoyment to anyone who takes it on. ~ Thom Jurek