Recorded over the course of three intense, solitary months in her home studio, it grapples with the emotional complexity that underlines this complicated socio-political moment. The end result veers away from her usual shimmering atmospheres, in favor of more propulsive and driving textures.

Let’s Turn It Into Sound does have some airy moments, but, for the most part, it’s better suited to the club than the sound bath. “There Is Something” starts as a fluorescent slice of neoclassical choral music, but evolves into a muted, dancey song that sounds like it could have dropped during the heyday of UK dubstep. On “Give to the Water,” Smith manipulates her vocals into a metallic, digitized blur to create one of the record’s chirpiest cuts. And it’s hard not to hear traces of Oneohtrix Point Never’s Drawn And Quartered and R Plus Seven on tracks like “Then The Wind Came” and “Pivot Signal.” For an artist whose signature vibe is typically overcast and esoteric, Let’s Turn It Into Sound is united by a kind of neon-drenched futurism.