There’s a magnificent insularity in Grizzly Bear’s music on its fifth full-length album, “Painted Ruins.” The band shows the concentration of craftsmen who delight in intricacy and a willingness to sling strictly private allusions, expecting that listeners will engage with layers of convolution. Yet Grizzly Bear doesn’t stint on more extroverted (if slightly old-fashioned) pleasures like curvaceous melodies, plush harmonies and sweeping buildups, along with glimpses of heartache and echoes of a more sumptuous, more optimistic pop past.

“Painted Ruins” arrives five years after Grizzly Bear’s previous album, “Shields,” and with it the band pushes its music further both inward and outward, toward the cryptic and toward the voluptuous. Its secrets and misgivings are gorgeously wrapped. In “Aquarian,” Daniel Rossen sings, “Every moment brings a bitter choice/The knowledge you can’t win with what remains,” yet a processional beat and reverential organ chords suggest pomp and pride, not resignation.

Image “Painted Ruins,” Grizzly Bear’s first album since 2012.

The band has reconvened in changed circumstances. Once based in Brooklyn, Grizzly Bear now has one member who lives in upstate New York — the guitarist and singer Mr. Rossen — while the other three are in Los Angeles: its bassist and producer, Chris Taylor; its drummer and frequent synthesizer player, Christopher Bear; and its founder and alternate lead singer, Edward Droste. “Painted Ruins” is also Grizzly Bear’s first album on a major label, but the band completed the record entirely on its own before getting a deal. And it’s not trying to become up-to-the-minute for 2017.