Grace Cummings digs deep on her fourth album. The Melbourne songwriter’s dark, resounding voice clears the way while she plunges into her fixations and regrets, ranging from a lifelong love of a certain Beatle (“John Lennon”) to the discomfort of being unable to fully express herself after getting Botox (the title track). Working once again with producer and multi-instrumentalist Jonathan Wilson in his Topanga, California studio, Cummings boldly expresses herself against a shifting backdrop of lush orchestration and stylistic experiments. Album opener “The Hills Are Alive with the Sound of Morphine” unpacks a metaphor for dazzling escapism that’s echoed in the song’s sweeping strings and horns, while “FAKE” applies an unsettling suite-like structure to capture the underlying despair of putting on an obedient face for the world. The album strikes an impressive balance between intimacy and grandiosity. Inspired by troublesome men who present as coolly disaffected, “The Magnum Opus of the North is a Cowboy Boot” is a warm and open showcase for Cummings’ mellower singing, complete with a psych-tinged culmination. And on the reeling “WITCH! WITCH! WITCH!” you can hear her training as a stage actor as she belts out certain lyrics in different voices while unpacking her decades-long struggle with night terrors.