On the follow-up to 2017’s Half-Light, Rostam juxtaposes elements of the postmodern sonic recipe he helped dream up for Vampire Weekend with novel touches, forming the flexible framework for deeply personal emotions. His secret weapon is Henry Solomon, whose mutable baritone sax inventively burnishes Rostam’s poignant vignettes (“Back Seat OfA Cab”) and ruminations (“Changephobia”). Against hard-edged rhythms – Danielle Haim’s clattering drumming enlivens “These Kids We Knew” – and Solomon’s wordless reveries, Rostam sings ina creamy tenor tailormade for sharing the intimate feelings of his lyrics. Changephobia’s vibey viscosity renders the change-ups that much more radical, notably “Bio18”, a collision of tribal rhythms and cocktail jazz, and the Auto-tuned vocals and sax bleatings of “Kinney”.