As entertaining as the slick Euro-pop poses of 's first full-length were, they neglected the more thoughtful side of 's music. In several senses, feels miles away from his debut album's escapism. This is 's first album recorded exclusively in Los Angeles; working with producer and collaborators including 's , he takes a lower-fi approach that adds an extra level of irony to "Un-American Woman" and "Siren Song," where the emphasis on guitar lends a more Stateside vibe. Even when he returns to synth pop on the hypnotic "Marble Eyes," it's murky and more than a little psychedelic. "Waitin'" retains the endearingly awkward immediacy of a demo (indeed, supplemented the album's studio sessions with four-track recordings he made in his apartment). 's grittier sound perfectly complements its stories of broken dreams, whether it's the waking fantasies of "Illusions" or "Get Real," which delivers its wakeup call via shout-along backing vocals. On songs like this, the hooks are just as big as they were on and , despite the slower tempos and more reflective, nuanced songwriting. evokes death and shadows on "Walk Away" as he describes his departing lover's all-black outfit, while "Copenhagen" bids a beautifully somber farewell to an old flame and his hometown, which feel like they could be one and the same. Moments like these add a little more depth to 's deceptively breezy pop, but while has yet to match the balance of both sides of his music he displayed on on his albums, is a welcome reminder of his full range. ~ Heather Phares