Even if I don't dig everything he's put out, Richard Barbieri is one of my favorite musicians in the world. He's carved out one of those niches that even the most amped-up, pyroclastic keyboardist can't fill. Barbieri's careful, methodical sound design adds an X factor to whatever he's a part of, most notably two rock bands with a devoted following: Japan and Porcupine Tree. In the case of the latter, you rarely hear Barbieri playing piano or organ, which is often delivered by frontman Steven Wilson. Instead, he brings textures which are harder to define, lending a cinematic boost to the vast majority of Porcupine Tree's discography.

His new solo album, Hauntings (KScope/Snapper), is as good a calling card as any for Barbieri's treatments and services. Some tracks have rhythmic drive, like "Anemoia," but Hauntings takes as much (or more) pleasure in dropping the listener into ambient interludes. Take the track after "Anemoia," "Victorian Wraith," which is little more than a cloud of sound. Rusty samples of clock chimes, thunder, and radio broadcasts decorate what may be my favorite cut, "1890."

Vocals are few and far between throughout Hauntings, since Barbieri isn't a singer. The track "Artificial Obsession" has some disquieting, sampled spoken-word stuff that may not be for everyone. "Perfect Toys" weaves some into the mix as well, on a more subtle level. There's something to be said about how instrumental music is leagues more difficult to sell than songs with vocals front and center. But, for some reason, I find Barbieri shines brightest on Hauntings without any decipherable words.

"Paris Sketch" is more of a full-blown Paris painting, as one of the most expansive tracks. There's even what the kids might call a "beat switch" near the end of the piece. How about that! Another great moment arrives at the album's conclusion, in the form of "A New Simulation." Hear the slide guitar? That's Porcupine Tree bandmate Wilson.

While I believe that Barbieri's Stranger Inside (2008) is his greatest solo album, this is in strong contention for the silver medal. His first LP, Things Buried from 2004, has a too-cold, too-lifeless approach. His albums between Stranger and Hauntings don't have too many memorable moments going for them. Between 2017's Planets + Persona and 2021's Under a Spell, there are only a handful of tracks I'd call all-time Barbieri works. His series of EPs, released from 2017-18 and referred to as "Variants," are a lot more rewarding.

Hauntings sees Barbieri present, with few frills, the flights of fancy he's best at arranging. The jazz and percussion tinges are there on compositions like "Snakes & Ladders," but they don't eclipse moods you'd swear were created from a director's chair. How can something be both opulent and sparse at once? Just take a listen.

Light to decent 7/10. Order here.