Eleven tracks recorded over two years comprise an auditory narrative attributed to the chance encounter between More and Donald Fagan in San Miguel, Central Mexico.
Produced under creativity and flair, each piece features a generic melange that largely consists of classic rock, soulful blues, folk and even a dash of Latin music.
The most interesting aspects of the ensemble appear in the experimental “Cuando” (translated into English as ‘When’), where More’s interest in Latin music is revealed through trumpets, Spanish lyrics and guitars.
Accompanied by almost space-age-esque synthesisers, this instrumental assortment fashions a vibrant celebration of Mexican style. The recurrence of a Latin influence is also discernible in “Fireflies”, this time through the jangly classical guitars proceeding the folky guitar picking that guides the chorus.
Deviating slightly from this Latin celebrations, More paints an ode to Classic Texas country music through twee backing vocals and foot-tapping banjos in “Country Love Song”.
Released as a single last year, “Caddis Moon” conveys a fervent melancholy in its usage of bittersweet harmonies, soft guitars and haunting vocals, with lyrics as chilling as the opening bar ‘Keep your hands on the wheel/ and keep your eyes on the drive.’ Both the titular track and “Not In The Cards” consist of slower tempos, while maintaining the surplus of emotion that governs their predecessors.
Vocals carry More’s distinctive country twang throughout the album; combined with the rock music of the album, in particular the vibrancy of “Cohabitate”, it conjures the alternative style of Foster the People. The infectiously rocky opening track “In the Basement”, conversely, showcases a soulfulness in voice similar to the that of Cee Lo Green.
An array of even more soulful songs, including “Yet To Be” – which layers 60s soul and Motown vibes with high pitched vocals and a classic rocky guitar solo – emerge afterwards to deliver a truly intoxicating style.
A hearty 60s influence is also evident in the keyboard solo of closing track “Wired That Way”, whereas the rumbling bass and guitars dominating “What You’re Looking For” echoes a discernibly 70s classic rock vibe, revealing the album’s rich musical experimentation.