Andy Cabic finally steps out from under the shadow of pal Devendra Banhart on this follow-up to Vetiver's self-titled debut. While there are some standard folk moments, much of the album points to an expansion of the band's sound.
The album opens with the quasi-mystical drones of "Been So Long," and it’s not long before some Indian-influenced drumming enters the picture alongside Cabic's vocals. Cabic's guitar remains in the background for much of the song, and it’s a refreshing way to begin this album considering how guitar-oriented the group’s first effort was. "You May Be Blue" is also a change of pace, relying more on a bottom-heavy rhythm rather than a melody to convey its urgency. "No One Word" hearkens back to Vetiver's earlier work, but the addition of a graceful slide guitar is a pleasant update.
The album hits a dull spot in the middle with songs that aren't a whole lot different from other things the group has done. I like the drums on "Idle Ties," but the song as a whole is little boring, as is the lengthy "I Know No Pardon," which follows. "Double" marks another change for the better with subtle drones that eventually open up into a sweeping string section. An even greater divergence is "Red Lantern Girls," which ends in a searing electric guitar outro that's more exuberant and energetic than anything I've heard recorded by this group so far.
Cabic can get a little too sentimental when the mood strikes him, and a succession of such material becomes a little numbing. Also, his singing style strays too far into Banhart territory sometimes, which isn't terribly surprising. Yet despite these flaws, this album is a remarkable improvement over the debut. Cabic's songwriting has undergone tremendous growth in the intervening years, and this recording is the proof.
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