In the EP, “All Delighted People,” Sufjan Stevens is a puppet master of his own voice. It’s like each chord is wrapped gently around his fingers, and he knows exactly when to flit them, making his voice come alive, dance and take a bow. Stevens hadn’t made a studio album in five years, but he’s returned to exhibit his mastery again.

Listeners can feel this reemergence in the twelve-minute title track. We sense the man exiting his cave, stiff for the first six minutes. As he slowly straightens up from a primitive state, jittery flutes and voices begin to waterfall.

In Enchanting Ghost, the sun meets his eyes; it is harsh and beautiful. In this and the following tracks, the lees of his old soul linger but he is stirred into change. These newfound elements of self carry the whole of “All Delighted People.”

His state albums “Illinois” and “Michigan” were full of somber contemplations after pondering alone. “All Delighted People” departs from its predecessors with music that gleams like sunlight instead of lullabying the drowsy.

Instead of isolating his sound to strings and a fragilely strummed acoustic, Stevens breaks out the instrument set from “Enjoy Your Rabbit” with synthesizers, electric guitars and unwavering vocals.

Songs like Enchanted Ghost, Heirloom (the EP’s most compelling piece) and From the Mouth of Gabriel harness Steven’s acoustic style. He doesn’t forget about the spirituality brought on by angelic choirs or the power of the tiniest voice.

Stevens’s EP is a complete experiment, and one he remains unapologetic for. The last track, Djoharian, titled after his sister, is the most brazen of these. Listening to “All Delighted People” is more like sitting in on a studio session with Stevens. It feels unedited, developmental and completely inspired.