Andrew Lustman's career has been defined by sonic highs and lows; from the scattershot approach of his aptly titled sophomore record You Stand Uncertain, to the assured and comparatively club-friendly -- also aptly titled -- Hardcourage.

Then back to the intentionally disorienting -- guess how fitting the title is -- In the Wild, before reverting to his birth name to release a gung-ho jungle/hardcore homage titled Crystal Cowboy.

His consistency comes from the amount of personality that goes into each record, with every one defining an era in Lustman's life.

Heaven Is for Quitters is no different, a reflective yet hopeful deconstruction of life past, present, and future; it arrives at a time when Lustman veers away from club culture, both musically and personally, striving instead to create a deep connection between audience and art.

An effort aided by the freedom of releasing the album on his own label, Blueberry Recordings, for the first time.

So although introspection may be on full display, it feels more like a celebration of life -- a post-realization that it's a mix of highs and lows.

It's obvious from the intro (and a quick glance at track times) that this record is going to be way more focused than In the Wild; in contrast to the wilting flower featured on the album cover, "Tasha" sounds like the petals are peeling back.

Heaven then launches into two out of three collaborative tracks.

Traditionally, Lustman has shied away from guest artists, a fact that he recognizes, but on Heaven, he challenged himself to work closely with both Hannah Cohen and Rosie Lowe, entrusting them to a greater degree than he would have in the past, allowing for his own personal growth in the process.

The resulting bond can be heard on their respective tracks, giving their vocals an organic quality.

On "Infinite Sustain," Cohen leans into Lustman's production to give the song a modernist '80s sheen reminiscent of synth-led power ballads.

Whereas later, on lead single "Drugs," Lowe's smoky tones help sculpt Lustman's most overt R&B song to date.

Also, long-time associate Mike Paradinas (aka µ-Ziq) makes an appearance on "Frigid Air," the track that shares the most common ground with Lustman's earlier work, classic drum pattern and all.

As for the instrumentals, they deal heavily in atmosphere, drama, and abstract thought; all of them pulse as if propelled by Lustman's beating heart.

Most surprisingly is the concise nature of the drums; gone are the signature stuttering snares, replaced by sparse intentional rhythms that serve the music much better.

"Whisper Diving" stands out in particular for its sense of dread and an ominous, fluctuating progression that could mimic a loss of control or a downward spiral.

The closing tracks, "Osaka Phantom" and "D & C," drift off into the unknown, like thoughts in progress.

They signify an interesting point in the introspection process, an admittance that there's still more to consider and levels of creativity waiting to be explored.

A very welcome concept for fans of the ever growing artist known as FaltyDL.