Apparently quite enamored of composers like Reich, Glass, and Riley, Dwinell uses repetition in much the same way as they do but with instruments like acoustic guitars, banjos, and mandolins rather than orchestral or symphonic instruments. It's a nice effect, but it gets dull after a while, especially since this type of music is fairly static, lacking any peaks or valleys to give a sense of movement. Also, considering that these basic ideas were already developed and popularized by others many years ago makes them a little less significant. However, when Dwinell imparts something of himself through the use of his vocals, the songs take off.
Using repetition as a compositional tool rather than a foreground element serves Dwinell's singing well, as evidenced on songs like "Candide," the playful "Sentry at Eleusis," and the sublime "Lost In the Desert, Near Death." To be fair, there are a few instrumentals in the vein of his heroes that add something different to their work, like the jazz-inflected "My Song Before the Gates" or the polyrhythmic "Processional," but for the most part, Dwinell's songs work better when he puts aside his obvious influences. There's still plenty of beauty to be found on this album, even if some of it sounds vaguely like things I've heard before.
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