Seasoned singer/songwriter Beck released his 12th studio album “Morning Phase” on Feb. 25, a full six years after the release of his previous LP.

The pacing and vibe of the album harkens back to the 2002 album “Sea Change,” Beck’s self-proclaimed companion album to“Morning Phase.” More contemplative, calculated and calm than Beck’s more recent offerings, “Morning Phase” opens with a minute of fully instrumental orchestral chords arranged beautifully that could easily double as a film soundtrack.

And then the LP’s second song, “Morning,” blooms out of the string swells. The multi-tracked vocals that make up much of the ambiance of the whole album make their first appearance here, creating haunting harmonies that linger on long after their apparent decay.

The guitar of the next track, “Heart is a Drum,” grounds “Morning Phase” for the first time, providing a rolling chord pattern that Beck had previously abandoned, creating a new color for the album thus far.

Much of the album melds spacial vocals and carefully plucked guitars, as illustrated in the fifth track, “Blue Moon.” The vocal weaving, liberal use of reverb and march-like snare drum subtly move the album along both melodically and rhythmically.

Although related to “Sea Change” in many ways, “Morning Phase” carves out its own identity. While the former dragged its feet, the latter is cautiously optimistic. What feels like a repetitive morning routine, the LP’s slow evolution makes a return to the mood of the opening tracks in the closing song “Waking Light.”

Beck is surfacing from the very diverse sounds of his previous albums and returning to a simpler time. Yes, Beck is able to create catchy pop tunes that are more upbeat, but “Morning Phase” feels like the music Beck is meant to create.