Their latest release, Redshift/Blueshift, is folk music in high definition, peppered with glockenspiels, trombones, harmonic whistle-breakdowns and the occasional Doors-flavored organ. In general, the band likes to start their songs off in a crouch, slowly gathering gumption and tension, before the inevitable pounce through a myriad of colorful instrumental flourishes. A perfect example is the first track on the album, “Redshift”, which builds from a ghostly acoustic strum into a stomping behemoth, complete with horns, before subsiding back into the skeletal beginning, with singer Todd Portnowitz ruminating on both Pangaea and the Cosmos, and how human beings are similar (metaphorically speaking).
Portnowitz continues to drop nature-related metaphors and similes throughout the album, which, musically speaking, is like one massive, epic song (that deals with massive, epic subject matter). In general, most the tracks on the album run into each other, and that’s dandy fine, especially if you have the time to listen to it all the way through. Redshift/Blueshift is a proper “Album”, in that respect.