What began in a Folsom, Calif., garage has taken these three brothers and friend on a journey of textural rhythms that verge on what the band calls ethereal rock 'n' roll.

From shoegazers to showoffs, musicians Bryson, Aaron, Ryan, and Jim have been called it all. What began in a Folsom, Calif., garage has taken these three brothers and friend on a journey of textural rhythms that verge on what the band calls ethereal rock 'n' roll. Think traces of Mogwai, Elbow, Yume Bitsue, and Doves, with a peppering of the Flaming Lips. This time, the band has teamed up with producer Duane Lundy (Scourge of the Sea, Neva Jeffrey, Vandaveer, and the Parlour Boys) for their sophomore release, Vanity, a contrast of sounds unlike any heard in The Wheat Patch.

Thematically speaking, the CD does not explore much in the line of happiness; most of the topics range from broken relationships and infidelity to the uncertainty of death. "The Ship," with its own world of relationship struggles masked in boat imagery and sea metaphors, moves slowly and sadly into the dragging "Holiday in Cape Town," which reminds listeners of painful holiday indiscretions. "Watershed" suggests a possible change in all of this down-tempo work, but instead, in a close second to the Flaming Lips, the band brings about painful, gotta-get-her-back resolutions.

At times, the band moves beyond coupling and touches upon larger ideas, such as the interconnectedness between sex and death and displeasures with God. Despite its cute title, "Screaming Dinosaurs" is anything but, with its threats against God and bitterness toward relationships. "Heavy Handed" is perhaps the strongest example of sex as a celebratory action and reminder of life and the necessity of distraction. "Ness" plays with metaphors for death and age and toys with the idea of the unknown. One of the most touching songs, "Good Night Old Man," speaks of a dead influence in beautiful and windy syllables.

Bryson, Aaron, Ryan, and Jim have certainly found some engaging topics and accompanied them with a complimentary blend of guitar, keyboard, bass, xylophone, and dulcimers to give listeners a subdued journey. Not without their humor, though, the four come back with a snide "Pop Song" that pokes fun at the relative lack of lyrical creativity required to make a strong tune. Filled with nonsensicalisms and possibly some relationship metaphors, the song is surprisingly enough not much like a pop song at all—maybe an indication that pop songs are a little more complex than most people give them credit for, or possibly another level of the band's attack on the catchy.

Vanity concludes, not as one might expect it to, but rather with "CBC," a climactic and relatively positive song compared to its previous track-mates. In this, listeners will find an urgency and a strong sense of throwing aside anxieties for the release of sexual tension. Not something that might've worked as a warm-up to the album, but as a finale, the album handles it well. Worth a listen if you're in the mood. B+ | James Nokes

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