“We’ve been pining,” goes one passing refrain in Devil We Know, and if the delivery feels too quiet for the sentiment, it sits nicely with the idea of reverie. (Many of these songs dwell in the first-person plural, which can be intriguingly tricky to parse.) Come to Me is an entreaty carefully framed as a hypothetical; the invitation to run away on “Paradise” seems more direct, until it begins to feel like a dream. There are missteps — like I’ve Got Freedom, with the kind of twinkle-lilt that feels pitched to the marketing arm of Apple — but far more common are the minutely scaled successes.
Among them is Disappearing Heart, a minor-key ballad with some of the album’s most soulful singing, and a take-it-or-leave-it conceit. “I’m not you,” goes the start of the chorus. “You’re not me.” It’s a simple truth that feels a little less simple in context.
— NATE CHINEN