I hear echoes of a Josh Ritter circa Animal Years, with a similar youthful vitality and nondepletable store of lyrical fire.

Some really subtle lyrics and a wide range of instrumentation make this a very atmospheric track with a circular theme and some poignant detail.

Thompson Faulk keeps up the front-porch stomp and weaves in some aww-shucks about putting it all on the line for your lady.

This is a true 2.0 rollout, in the sense that I have a full handle on what my tech needs are now, as well as a full handle on what the visual aesthetic needs to be.

It is that backbeat chop, the dirt, the nowhere-to-hide nature of the entire arrangement that just says gritty blues with a Hendrix-style pomp.

Its all energy, drums, and shattered vocals; the chorus refrain serving as a gear itself, twisting, repeating, and snarling while the song arrangement circles around.

Georgina Tarasiuk puts her clear flutelike soprano in front of a peppy rock beat, and Peter Lewanczyk throws bells and synth and surf-guitar into the soup.

Lauren OConnell is able to reify the casual urban poetics of the Bay area, complete with acoustic roots, delicious irony, and a satisfying hook.