Last year, singer-songwriter Mikal Cronin released his latest LP, Seeker, to widespread acclaim. Full of top-notch songwriting and wide-ranging approaches, it was a satisfying return after a relatively lengthy hiatus (his previous album, MCIII, came out in 2015). Always one to challenge and surprise both himself and his audience, he now returns with Switched-On Seeker, an electronic reimagining of that same wonderful collection. It evokes what Ben Gibbard did with the Postal Service compared to his aesthetic with Death Cab for Cutie. When placed side by side, the former version is superior to this one—after all, it already features some digital elements amid its full-bodied instrumentation—but Cronin certainly deserves applause for offering such an intriguing and novel alternative.

Seeker was partially influenced by the relatively recent wildfires in Southern California that forced Cronin to leave his peaceful cabin and move back to Los Angeles. Likewise, writer’s block and the fragility of past relationships played a part in his creative mission. Rather than record this one after Seeker, he created them simultaneously. As for the “Switched-On” part of the title, it’s meant as an homage to the pioneering electronic-meets-classical Moog music of Wendy Carlos. Cronin limited himself to only a series of synthesizers and drum machines as he worked in his garage. The result is a fascinating journey full of intrigue and heart, especially when assessed alongside its traditionally arranged counterpart.

Opener “Shelter” follows the same blueprint as before—right down to having an identical length—and what it loses are warmth and variety, it makes up for with ethereal and isolating vocal effects. Cronin’s pensive distance conjures the coldness of Wayne Coyne’s singing on the Flaming Lips’ The Terror. Afterward, the robotic percussion of “Show Me” inherently possesses a hip-hop essence that wasn’t there before; also, the Richard Wright-esque synth solo is quite arresting.