Mariee Sioux steps out of the barren southern Californian desert dreamscapes that defined Faces in the Rocks for this lusher, more electric record. The aural spaciousness and delicate fingerpicking of those first songs is still the grounding force here, but layers of washed-out organ, reverb-heavy guitar lines and slide licks are added to the mix for a sound that’s decidedly more urban, but still recalls the timeless nature of Faces. Mariee’s Native American roots were deeply invested in her first record, and still give her songwriting an earthy sensibility. (I hate that word but it really does apply I think.) Despite the denser arrangements of this record, there honestly isn’t much creative progression to these songs’ structures; Mariee’s songwriting formula seems to be pretty much the same. Which isn’t a bad thing at all, but it’s noticeable. However, her latest recordings with Bonnie ‘Prince’ Billy (as Bonnie and Mariee) are examples to the contrary. Either way, Mariee’s voice is incredibly fucking beautiful, completely otherworldly in its careful and purposeful fracturing of notes and its ability to glide harmonies through the songs with the humble grace of an Owl, or with the intensity of a fired Desert Eagle.