For her third solo album, Heather Woods Broderick returned to the Oregon coast where she spent her childhood summer day-trips, revisiting innocent childhood memories and taking time to herself to process her life experiences as an adult. In the end, she created a collection of dreamy baroque-pop songs full of observations about her life as a touring musician and the personal and financial sacrifices that come with it.

Her first proper album in four years, Invitation is a vastly different experience compared to 2015's Glider, whose hazy heavy dream-pop was lush and orchestral but also felt occasionally indistinct and implied more emotion than than it conveyed. Where Invitation differs is that it peels back much of the layers Glider was wrapped in to reveal a clearer brighter sound and a more personal connection. Stripped from the reverb, Broderick reveals a voice full of emotional depth largely missing from it as well.

She boasts an impressive resume as a musician which includes being a member of Efterklang, Horse Feathers, the live bands of Laura Gibson, Lisa Hannigan, and Damien Jurado, not to mention her crucial role in the world of Sharon Van Etten. But, as a solo artist, it's taken her years to find her own voice, which she seemingly comes into here. Where Glider was often draped in hazy layers that often made it a stifling experience, Invitation feels both like a corrective measure and also a creative leap forward.

Invitation doesn't completely abandon the melancholy that pervaded much of Glider, especially given its personal nature, but there are moments like the country influenced 'Nightcrawler' that offer a comparatively calmer and even lighthearted appeal, despite its breezing mournful slide guitar. The quiet build on 'Where I Lay' gives way to a gorgeous explosion of pianos and drums with haunting harmonies that, more than anything, signals just how much Broderick has grown as a composer and vocalist in the space between albums.

Though her compositions boast a little more structure, they still remain skeletal enough to feel almost painfully intimate, like the slow burning 'Quicksand' and 'I Try' where slow-rolling percussion guides the songs, and even when she strips things back even further to little more than pianos and strings, like on the appropriately titled 'Slow Dazzle' or 'My Sunny One,' they never lose their focus or purpose. For Broderick, the process was more than creative, it was also a matter of disconnecting from an otherwise unrelenting hectic reality for the sake of reflection and rediscovery. Invitation comes to a close with the gorgeous panoramic 'These Green Valleys' that doesn't really tie off the experience with any clear answers or directions. What it does do though is offer a momentary escape and also the feelings of renewal that comes from the kind of disconnection we could sometimes benefit from.