Moses on a Snail

The quality of s post- output has been variable, but his stylistic approach has been quite consistent, best summed up by the axiom "Like GBV, But Not as Good." 's solo work has been dominated by the same kind of short, hooky explosions of pop songcraft that were his earlier band's stock in trade, but without the same degree of energy and a more sterile studio approach, with and handling everything themselves (the interaction between and his bandmates seemingly had more to do with the strength of 's best albums than anyone imagined at the time). But on 2010's , shifts gears for the first time in a while -- it's not been uncommon for a few slower tunes to pop up on his albums, suggesting s fondness for the more melodic avenues of progressive rock and art rock, and on , he lets this side of his music come to the forefront and dominate the song list. aims for a grander and more contemplative sound on , and he seems willing to acknowledge his age, with these songs better suited to his voice (still in good shape, but a bit rougher and lower than it once was), as well as revealing some deeper lyrical concerns (still cryptic, but and the title song certainly sound weightier and less playful than, say, or ). This isn't the best of s solo efforts to date, but it reflects an admirable effort to move past the sound and approach he's been working with since the early '90s, and it's more compatible with his current working methods. As fate would have it, was released not long after announced that would be re-forming for a short reunion tour; it's anyone's guess how revisiting his past will impact his new music, but this album at least makes it seem like he's pondering the difference between the two stages of his career, which is a big step in the right direction. ~ Mark Deming