It’s remarkable to look back and listen to his cluttered and more juvenile stuff of just seven years ago. “Woods,” which flows on a bed of airy synths, is Miller at his most seductive, funky and mature. “I’ve been alright” and “I’m feelin’ fine.” His advice to others? “Do not be afraid” and “take a little time for yourself.” “Everybody’s gotta live/And everybody’s gonna die,” he sings on “Everybody.” But he’s OK, too. Listeners will naturally focus on the references to death and they are definitely there. “So tired of being so tired.” Brion is rightly in no rush to end it, and lets Miller go for more than 5 1/2 minutes. “Runnin’ out of gas, hardly anything left,” he sings.

Delicate guitar plucking accompanies Miller’s hangdog lyrics. The first single, “Good News,” is addictive and must surly be a defining song for an artist taken far too soon. A tiny hesitating sample serves at the backbone to “Blue World,” a lazy drum and piano do the same for “I Can See.” A repeated “eh-uh” runs through “Hands” and “Complicated” at first seems too simple but subsequent listens reveals a jewel-like construction. “Circles” is both spare but somehow full. Here, he is low-key, moody, spacey and anesthetized. Miller was always an idiosyncratic artist, mixing hip-hop beats and samples with soul and warm funk, even jazz. “Circles” shares the appealing confessional lyrics of “Swimming” but is more airy, more muted and understated.

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