Of all the records made in the 1990s and since that time, none is more misunderstood or ignored than . Coming as it did so quietly and unobtrusively in 1996, a year and a half before the celebrated , is 's most focused album of that decade. Self-produced and featuring the sparest of instrumental settings -- and play guitars, plays piano, and plays fiddle on certain tracks -- weaves a tapestry, a song cycle about brokenness, loneliness, heartbreak, spiritual destitution, and emerging on the other side. The set begins with the instrumental which seems to usher in the atmospheric texture for this album. tells its heartbreak story with as much lilt and pastoral grace as is possible without being sentimental. 's guitar soloing is gorgeous; he's deep in the groove of the washes of 's chords. Hearing a steel-string guitar play rhythm and a nylon-string guitar play lead is an interesting twist as well. But digs the notion of deeper into the listener's consciousness with : "Been feelin' kinda free/But I'd rather feel your arms around me/Because you're takin' away/Everything I ever wanted..../It's a memory today, it'll be a memory tomorrow/I hope you're happy someday/"Your memory won't die in my grave...." And when moves to the full acceptance issue as he does on the music is slightly off-kilter in the intro, as if the singer cannot come to grips with the song. plays just behind , stretching time, making it slip and shimmer all the way into the most devastating to be recorded since 's albums. On the sun begins to rise out of the heart's bleak night and comes to the dawn of a new day in the life of love and spiritual connection. This is writing conceptually as he did early on with , but he is at his understated best here, moving deeply into the skeleton of the song itself and what it chooses to reveal through the singer. And while is quiet, it's a tough, big record that makes you confront the roar of silence in your own heart. ~ Thom Jurek