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Electro-pop and dreamy grooves are largely replaced with rich ’60s-style folk-pop on the artist’s isolation-inspired third album, wherein self-doubt feels like a secondary character.

The Sheffield art rock ensemble’s first album in nearly 24 years still maintains their Kinks-y kitchen sink dramatics in opposition to Oasis’ Beatles-like demeanor and Blur’s operatic Who-ness.

Padded out with a personal essay, family photos, and outtakes, this re-release of Stevens’ album-length eulogy permits yet another return to the 1980s Oregon of the artist’s memory.