After a five year hiatus, three original members of Britain’s Tindersticks remain. and the group sounds completely recharged and as “on message” as any young, hungry band. Which in the Tindersticks’ case means they’ve successfully connected with their melancholy, their 3 AM whispers, and an illuminating somber beauty that gets stuck in singer Stuart Staples’ throat every time he rises to the occasion. An extensive list of guests ensures the remaining trio lose none of their expansive, orchestrated scope. The opening instrumental “Introduction” eases the listener into this alternate universe where the drama of young love never loses its potency. The hopeless mirth of “The Flicker of a Little Girl,” the haunted, ominous “Mother Dear,” which breaks into a jagged electric blues guitar solo, the organ-based whimsy of the aptly-titled “The Organist Entertains,” and the classic Tindersticks drama of “Boobar, Come Back to Me” and “The Turns We Took” prove the band’s idiosyncratic sound — compared for lack of other references to Leonard Cohen and Scott Walker — easily endures with its expected musical flavor.