It's strange how this album arrived soon after Titanic Rising, given they are both artists recalling female psych-pop songwriters (Nico, Kate Bush) and are finally getting recognition deep into their careers. While I'd easily go with Titanic Rising over this, if you are hankerin' (and, perhaps, pankerin') for more of that relaxed, synthy, dreamy art-pop goodness this is an excellent companion piece.
There is a bit more Bowie and '80s influences going on here. The stand-out single "Daylight Matters" has that warped, druggy vibe of Bowie's Scary Monsters days. "Meet the Man" almost sounds like a Nine Inch Nails instrumental with its haunting distorted notes that climb up and down. It's sonically rich and full of good tunes, though it's feverish, moody qualities may not give it the same reach as Weyes Blood's breakout album from 2019.
I know it's bad form to pit female artists against each other, but in this case, it really is striking how similar they are and I believe if you like one you will enjoy the other.