But the new works take it a step further, and that's where the other half of "Sirens" picks up. Here Paley explores much bigger soundscapes while somehow managing to maintain the feel of "a guitar in a room." By the time you've made it through the album's effected-acoustic opener, "Come Home," (featuring Tom George of The Lion and the Wolf on harmony vocals), the piano-driven and crescendoing "Take Cover," and the synth-heavy movement of "Let Me Go," Paley's pursuit -- "open spaces, sharp edges and bright colors" -- is on vivid display. From there, the other new additions -- the night-chill of "Go to the Wolves" and the wistful-but-driving lilt of "Ellie Dreams of Flight" -- see him hew more closely to his "Songs for Dorian Gray" work, but expanded through a variety of new accompaniments.

The new direction of "Sirens" is filled with promise. And while this isn't his first foray into work outside of a band — this album is a followup to his first solo effort, “White Rooms,” which was produced by Matt Squire — Paley suggests he's just getting started. "I have a cache of songs that I've been working on for a few years now in-between everything else," he says. "I've always wanted to get them out there, but couldn't find the right home for them. I guess I just had to start building it."

And he's been building it steadily since late 2014. Over the past two years, in between international touring with The Static Age, he's taken time out to tour behind this project for the first time, playing shows across the US, Europe and Brazil with the likes of Garrett Klahn (of Texas is the Reason), Karl Larsson (of Last Days of April), The Lion And The Wolf, Adam Rubenstein (of Chamberlain), and Northcote.

In support of the new release, Paley will be appearing at The Fest in Gainesville, Florida at the end of October before embarking on a variety of tours in 2017, including in the United States, Europe and Japan.