It feels like it’s been eons since the last Gravenhurst outing, but a mere five years have passed since 2007’s brooding and beautiful The Western Lands. On The Ghost in Daylight, Nick Talbot’s dark storytelling takes a fairly homogenous tone, much like a Mark Kozelek or Bon Iver record does. The pace and timbre are set by the first track—on “Circadian,” brushed snares and cymbals, Talbot’s hushed singing, and acoustic fingerpicking are set over pillowy washes of murmuring synths. Settle in for a finely nuanced musical excursion that takes its time to unravel. The airy, pop-flavored “The Prize,” two intriguing, cinematic instrumentals (“Peacock” and “Carousel”), and the icy, chillwave-influenced “Islands” are full of small surprises and great rewards. There are downright scary moments, too, as when Talbot gently warns “Evil looks just like anyone” on the industrial-bookended track “The Foundry,” or when he almost sweetly narrates a horrific arson scene on “Three Fires,” a tune that gurgles along like a spring brook. Is this guy okay? We don’t know, but he sure makes ghastly, gorgeous music.