The current moment calls for a daily ability to let go of what’s out of our control and focus on what we can. The scrap-wood park bench you never finished. The short story about a road trip across an imagined, virtual space. The food delivered to someone half a mile away who may be finding herself in a radically different set of circumstances than you. This is a time to amplify the nearly silent, to render the grandiose out of the commonplace, to magnify the seemingly insignificant.

Inadvertently or otherwise, there have already been a number of record releases this year that provide perfect soundtracks for this productive disquiet many of us may be experiencing, J Carter’s Rejoice and LEYA’s Flood Dream among them. But if those records’ darker edges sometimes feel overwhelming, Natalie Chami’s (aka TALsounds) Acquiesce may be the perfect sonic massage, a gentle touch not unlike the music of Joanna Brouk or Ashram-era Alice Coltrane. This is music that can hold its own against the background but deserves an immersion.

Chami, with years of classical choral training and a career teaching at ChiArts, is surprisingly of the moment as a performer. Her purpose always seems to be not so much a calculated push toward a final product, but what the music is doing as she plays it, and right now, having that kind of focus is crucial to basic survival. Like her other albums, Acquiesce derives it sounds from numerous synthesizers and voice, the latter an instrument that seems to focus on the sound itself as much as what she might be saying. But unlike most of those records, this is not a single take, as vocal layers were added later after performances were edited.