Breaking into the mainstream with 2018's , Japanese singer/songwriter levels up with his sophomore set, , a collection of alternative pop and R&B gems that marks a huge artistic step forward for the musician. As an underground favorite for years, finally sounds like he's ready for the big leagues with , leaving behind the insular and woozy experiments of his early days and setting his sights on improved production and stronger songwriting. Piano twinkles add depth and sophistication to tracks such as the lush "MODUS" and the yearning "Mr. Hollywood," while pop-savvy production choices elevate highlights like "777" -- which sounds like joining -- and the sweeping synths of "Your Man." Meanwhile, toys with genre on the skittering electro of "Gimme Love," the trap-kissed "Pretty Boy" with , and the haunting sweep of "Run," which recalls 's dramatic gravitas. Additional guests include ("High Hopes"), ("Normal People"), ("Afterthought"), ("Reanimator"), and ("Daylight"). The latter collaboration is the absolute standout on , swelling to a gorgeous, heartbreaking chorus as reveals, "I'm in Hell/And I've cried up and down in these hallways." Soulful, hypnotizing, and packed with emotion, it's not just the best song on the album, but it might be the best song in 's catalog to date. By expanding his sonic scope, the one-time viral Internet comedian unlocks a fresh set of possibilities for where he can take his sound. Bold, brave, and bigger-budget, is a major turning point for , a declaration and creative jump that eclipses what he's done in the past and shines a light on where he's headed in the future. ~ Neil Z. Yeung