Here’s another one of (mostly) guys and guitars scraping away at dull layers of desensitizing accrued through years of cynicism and regret. How ironic that those who would appreciate it the most are the least likely to find it. Or is that just a well-deserved conclusion to these stories?

Cruel and Constant

Vic Chesnutt – One of the more delightful moments of the Undertow Collective show in Boston was the on-stage banter between Mark Eitzel and Vic Chesnutt, two purveyors of broken promises who consistently find humor balled up in the shadowy corners of human existence. If that statement makes you metaphorically scratch your head, then I doubt you’ll understand Chesnutt’s meandering gut-punch almost worthy of Chocolate Genius’ “My Mom.”

Joel Plaskett – As one of the world’s most fervent Joel Plaskett fanboys I must admit the idea of releasing his Sandinista brought about ‘”is this a good idea” levels of hesitation. As you expect the conceptual side of it doesn’t hold up, the running time is far too long to sustain the interest of even his family members, and one song plucked from the field quickly restores my faith in the whole exercise.

Black Heart Procession – Don’t let me mislead you with this relatively tame track, there’s plenty of post-disaster disillusionment on their latest effort to satisfy the ardent fan. Though admittedly I kept hoping for that sprawling 7+ minute track that drags you through the filth of rain tarnished dirt roads, but it never quite arrived.

Exene Cervenka – I remember the unexpected joy of her late 80’s solo albums and the muted disappointment of mid 90’s follow-ups. Given this one’s on Bloodshot I knew to expect much more of the early 90’s faux-country and indeed it’s all inoffensive and uncomplicated beauty on display, better than a chick-flick soundtrack but nowhere near a day-after evidence envelope.

The Avett Brothers – You know how you get excited that your favorite (relatively) unknown band is finally getting that shot with the big name producer on a label with decent distribution? And you tell all your friends about how it’s the new pinnacle of the musical/emotional entanglement that’ll get even casual fans to speak in optimistic tones? Yet you know in your heart it has none of the spontaneous humour or emotion or risk-taking of their far superior unknown records? Yeah, I know that story too.

Simon Joyner – Our generation’s Townes Van Zandt continues to rake the leaves at a barren park the edge of a post-industrial Midwestern town, tidying a quiet plain that nobody wants to view anyways. A writer can do a lotta thinking about humanity in those moments, only a few people actually think to write ‘em down.

Redwood Red – Not quite sure where the label sampler came from (Germany?) but it has a hardened 70’s folk feel that eschews much of the unearned frivolity of the freak scene, leaving behind those who need to communicate beyond their daily grind and restless evenings.

Monsters of Folk – Two things nobody remembers about the Travelling Wilburys. 1) Everyone thought it was a stupid idea in the first place. 2) It was the second album (or, uh, third?) that proved the instincts behind #1 correct. Supergroup magic is incredibly difficult to capture, if you’re lucky you’ll get one decent song. Perhaps this is the one?