[06.03] I've really been enjoying the softer, gentler side of Sub Pop lately. After a tumultuous childhood filled with some of the best and worst rock music of the '90s, they seemed to have settled down and started focusing on mellower pop and folk inspired music—the type of tunes that my mellow ass has really been enjoying lately, but not so good for those out there eagerly anticipating that new Tad record to drop (note: I have no idea if there is or is not actually a Tad record coming out—this was just my bad attempt at a joke).

The Shins, Iron & Wine, Trembling Blue Stars, Holopaw, Ugly Casanova, Pernice Brothers, etc.—The Fruit Bats fit right into this stable of artists, and I have thoroughly enjoyed all of these records (especially Iron & Wine one—not to be a cheeseball, but this album just gets better and better with age, like a fine wine). While not sounding exactly like any of these bands, The Fruit Bats do share a similar sound—a Kinks/Beach Boys pop influence like The Shins or the Pernice Brothers, a more mellow, folky pop approach like The Trembling Blue Stars, and a slight tinge of the spooky alt-country stylings that flavor Iron & Wine, Holopaw, and Ugly Casanova. What was once the work of only one Fruit Bat by the name of Eric Johnson (no, not the one who played guitar for the Archers of Loaf or the one that plays that wankery new age type stuff—this one is apparently associated with Califone), the group now consists of a new member by the name of Gillian Lisee, who fills in on additional vocals, keyboards, and probably whatever else needs to be done.

This is a fine record that I enjoy more with each passing listen. And if the company it keeps is any indication, this won't be one of those "listen to it a hundred times in two weeks and then forget about it" type of bands, but more like one of those "Jesus Christ it's been nearly two years you'd think I'd be sick of The Shins by now but I'm not" types. —Jake