Jonas Munk’s first album for five years; whereupon the Danish musician reminds us that he is a master of the dream pop/ambient indietronica sound. Using a mixture of acoustic and electronic instruments, Munk heavily processes with reams of thick reverb and digital effects to produce dreamy, cascading compositions.

For the artist in question, however, Drowned In Light brings nothing new to the table; in fact, if anything it appears more closely linked to the Shoegaze subgenre than ever; indeed strong stylistic comparisons with Ulrich Schnauss’s lush, melancholic dream pop run amok throughout.

That’s not to say Drowned In Light is a plagiaristic in any way, this kind of music has always been Munks stock in trade, and he’s better than most at it. There are certainly some delightful tracks on show, particularly Afterimages with its resplendent acoustic guitar strums, multiple layers of oceanic synth strings and strong melodic foothold.

Another stand out is Empty Aside, with acoustic guitar initially the focal point of this track. Gorgeously plucked, with subtle yet mesmeric chord changes, later joined by more spangled guitars amidst gentle percussive beats and haunting synthesised vocal sounds. This is really quite beautiful.

A few other tracks also shine through, such as the watery, shimmering ambient track Slow and closing Issa; again the guitar element the stronghold of its pleasing melodic refrains.

Otherwise, Munk records almost to a template style, and perhaps could have attempted something a little different to vary the album somewhat. Longstanding admirers of Manual are likely to consider Drowned In Light a repetition, albeit a good one, but if you’re completely new to the project I doubt you will find the album’s lack of scope a problem.