Julianna Barwick's revelatory third full-length, Will, is a surprising left turn for the Brooklyn experimental artist. Conceived and self-produced over the past year in a variety of locations, the ominous, compelling Will is a departure from 2013's Alex Somers-produced Nepenthe. If that last record conjured images of gentle, thick fog rolling over desolate mountains, then the self-produced Will is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once. Will comes off of Barwick's busiest period in her career to date following Nepenthe - a spate of activity that included playing piano for Yoko Ono, performing at the 25th annual Tibet House Benefit Concert alongside such kindred spirits as the Flaming Lips and Philip Glass, the Rosabi EP and an extensive touring schedule that included her first-ever shows in Japan. Her life over the past several years has largely been lived in transit, and as such the genesis of Will was not beholden to location; Barwick reflects on this cycle of constant motion. "You're constantly adjusting, assimilating, and finding yourself in life-changing situations." That sense of forward propulsion is largely owed to what Barwick describes as Will's "synthy flava," an ingredient she was inspired to add to her vocal loop-heavy formula after demoing equipment for synth maker Moog. Another new wrinkle Will introduces in Barwick's sound: Mas Ysa's Thomas Arsenault, who lends his richly complex vocals to "Same" and "Someway." The beguiling, beautifully complicated Will is the latest proof yet of Barwick's irresistibly engaging talent.