There really isn't such a thing as a "good" time for a breakup to happen (at least I don't think so), but you could argue that the absolute worst time to have to go through one is during the holiday season when everyone around you is at their peak cheerful, which sometimes has a way of making the process of struggling with heavy emotions even more difficult.

This is the situation Angelo De Augustine found himself in. It was just before Christmas one year ago that he was greeted with a letter in the mail that effectively brought his relationship to an end. Instead of giving himself any time to settle into a depressive state, he used the experience for inspiration, and by the time Christmas rolled around a few days later, he had finished writing an entire album.

Two months later, he made his way to New York City to record at Reservoir Studios with his friend and fellow musician, Thomas Bartlett aka Doveman (whose credits include Sufjan Stevens, Antony and the Johnsons and David Byrne). This was something of a first for De Augustine, whose last two releases were somewhat scruffy home recordings. His sparse and intimate folk-influenced music - which has drawn comparisons to everyone from Nick Drake and Elliott Smith to his label boss Sufjan Stevens - thrives on that kind of low-stakes production.

Nonetheless, Tomb benefits from having a slightly cleaner sound and the results are remarkable. Tapping into the potential his past albums only hinted at, It's polished just enough that the songs boast a greater clarity but without losing any of the homespun intimacy of his previous recordings.

'You Needed Love, I Needed You' is easily the best example of this. For the most part, it's a stark folk song featuring some especially beautiful and intricate finger-plucked acoustic guitar accompanied by hints of a distant twinkling piano and his rich and wistful falsetto. Even on 'All to the Wind', where pianos take the lead creating a galloping and upbeat rhythm with strings faintly creeping in, you're still left the impression of sitting in the same room as him as he lays everything down. What sets him apart from most other artists working from the same approach is his ability to take sparse, often simple, arrangements and coax something from them that comes off as both complex and breathtaking.

As deeply personal of an album as 2017's Swim Inside The Moon was, Tomb sees De Augustine laying bare some of his most intimate experiences with the kind of naked and unflinching honesty you normally reserve for those closest to you. It finds him taking stock of past disappointments and heartbreaks (including the divorce of his parents when he was still young), with the title itself referencing the metaphorical tomb in which we often find ourselves tucking away our most hurtful and traumatic experiences.

The title track is about the windfalls of finding and subsequently losing love; the stunning pop of 'Time' touches on heartbreak and the sometimes painful process of moving, and 'You Needed Love, I Needed You' comes to terms with past mistakes and the consequences of neediness.

Rather than allowing grief or bitterness to well up and overwhelm him, he instead uses his music as a vehicle to not only cope, but to also find some sense of reconciliation. On that end, Tomb doesn’t compartmentalize any lingering sense of doubt or despair so much as it comes to terms with those feelings, giving De Augustine some much-needed perspective and the chance to embrace the brighter possibilities that lie ahead.