There's an aural poignancy that runs throughout 's compelling sophomore album, 2018's six-track . While the Nashville-based duo of singer/songwriter and drummer have always evinced a sun-dappled, '60s brand of emotionality, the added poignancy on can, at least in part, be explained by the group's slightly different recording process this time out. Fresh off their European tour, settled into a studio at New York's Columbia University (and later, the Relic Room studio) where they began crafting these layered, classical chamber-inflected songs. While the core of the band's sound still centers on 's hushed, poetic vocals, they've expanded their indie rock approach with setting pen to staff paper to score his expansive arrangements. Along with swirling guitar and basslines, he weaves in organic amounts of cello, violin, and bass clarinet. The result builds nicely upon the group's heretofore psychedelia-dipped brand of indie rock, and retains much of their longstanding devotion to the late singer/songwriter . This atmospheric, bedroom orchestral aesthetic also brings to mind more vintage touchstones like 's 1969 cult-classic , and even some of 's more esoteric recordings. Cuts like the kaleidoscopic "Swallow's Song" and "Clover," with its half-lidded string hits and staggered drum pattern, sound a bit like if they'd recorded in the late '60s. Similarly, the moody, piano-driven title track, with its cinematic string parts and pounding, rock-infused outro conjures -era , and the languid "Star Mangled" evokes early . ~ Matt Collar