Opener “The Knife” begins with a tinny, even-strummed guitar as Michael Ross’s melodious, clean voice preaches “be who you are/and you can be born again/and again”. An honesty certainly emerges through this song; local listeners will instantly feel at home, with place-names thrown in often and an aimless roadtrip narrative that warms like the Texas sun. “The Interstate 1-0 is an arrow/ running straight through the heart of a Southern Man” Ross croons. Drummer Kyle Ponder taps out strong downbeats that match the meandering demeanor of the song; much of the album’s minimalism comes from the rhythm section, which keeps the album driving and even-paced, with only a flourish or splash of cymbal work or where necessary.

“Delmar Lanes” introduces keys into the mix, and picks up the pace vocally; the choice of inflection and attitude makes one recall Spoon’s Britt Daniel in the early tracks of Gimme Fiction. A clacky, jarring guitar line whines over the calmer piano to nice effect, and the song’s finale gives a chance for Ponder to explore his kit.

Almost every song on the album is endearing, but some are downright nauseating. “Evelynn” tastes too rich, too melodic for easy consumption. The vocals are spot on, well crafted and sweet, but it sounds nursery-esque, like too many of Ben Fold’s odes to his daughters, to be truly memorable. Luckily the edgelessness found in this song doesn’t linger or bleed too much into the other tracks.

“O Lord” is a bluesy spiritual, seeking forgiveness for nondescript loneliness in the City of Music. Geoff Dupree’s bluesy guitar lends the song an air of authentic rusticity, and Drew Emmons picks up the beat with a pleasantly arpeggiated accompaniment that keeps the listener swaying. 50 second “Dead Everyday”, despite being diminutive in length, shows the band at their best. Recalling Elliott Smith’s early Heatmiser work, the song is focused and fun. However, the band’s choice to have it end the album is peculiar, as the more dramatic and introspective “On the Hudson” seems the obvious choice.

“Hudson” combines the best and worst of the band in a single song. The band has been taking notes from Drew Smith’s Lonely Choir, but unfortunately reproduces the pitfalls as well as the successes. The lyrics wander through a loose stream-of-consciousness structure that rarely rhymes, at worst sounding like an off-putting Moldy Peaches B-side. Lines like “all of my roommates are asleep/except for laura who is not home yet/she’s out with her friends” shed their teeming awkwardness on the listener. However, the best, timid, reclusive parts of the song redeem the piece; one can imagine the embarrassed smile of Ross as he stares at a cute companion watching just outside the studio. As he sings how he was “playing handsome molly/on a spinet piano/for faces I will never see again,” it rings ecstatic, not lonely. And really, that’s what pop music is about; reminding us we always have a welcoming compatriot, easily accessible with the hit of a button on the stereo. Jude/Ross’s newest release is far from flawless, but when it embraces its cute everyman-pop sensibilities, the audience can’t help but listen.

Opener “The Knife” begins with a tinny, even-strummed guitar as Michael Ross’s melodious, clean voice preaches “be who you are/and you can be born again/and again”. An honesty certainly emerges through this song; local listeners will instantly feel at home, with place-names thrown in often and an aimless roadtrip narrative that warms like the Texas sun. “The Interstate 1-0 is an arrow/ running straight through the heart of a Southern Man” Ross croons. Drummer Kyle Ponder taps out strong downbeats that match the meandering demeanor of the song; much of the album’s minimalism comes from the rhythm section, which keeps the album driving and even-paced, with only a flourish or splash of cymbal work or where necessary.

“Delmar Lanes” introduces keys into the mix, and picks up the pace vocally; the choice of inflection and attitude makes one recall Spoon’s Britt Daniel in the early tracks of Gimme Fiction. A clacky, jarring guitar line whines over the calmer piano to nice effect, and the song’s finale gives a chance for Ponder to explore his kit.

Almost every song on the album is endearing, but some are downright nauseating. “Evelynn” tastes too rich, too melodic for easy consumption. The vocals are spot on, well crafted and sweet, but it sounds nursery-esque, like too many of Ben Fold’s odes to his daughters, to be truly memorable. Luckily the edgelessness found in this song doesn’t linger or bleed too much into the other tracks.

“O Lord” is a bluesy spiritual, seeking forgiveness for nondescript loneliness in the City of Music. Geoff Dupree’s bluesy guitar lends the song an air of authentic rusticity, and Drew Emmons picks up the beat with a pleasantly arpeggiated accompaniment that keeps the listener swaying. 50 second “Dead Everyday”, despite being diminutive in length, shows the band at their best. Recalling Elliott Smith’s early Heatmiser work, the song is focused and fun. However, the band’s choice to have it end the album is peculiar, as the more dramatic and introspective “On the Hudson” seems the obvious choice.

“Hudson” combines the best and worst of the band in a single song. The band has been taking notes from Drew Smith’s Lonely Choir, but unfortunately reproduces the pitfalls as well as the successes. The lyrics wander through a loose stream-of-consciousness structure that rarely rhymes, at worst sounding like an off-putting Moldy Peaches B-side. Lines like “all of my roommates are asleep/except for laura who is not home yet/she’s out with her friends” shed their teeming awkwardness on the listener. However, the best, timid, reclusive parts of the song redeem the piece; one can imagine the embarrassed smile of Ross as he stares at a cute companion watching just outside the studio. As he sings how he was “playing handsome molly/on a spinet piano/for faces I will never see again,” it rings ecstatic, not lonely. And really, that’s what pop music is about; reminding us we always have a welcoming compatriot, easily accessible with the hit of a button on the stereo. Jude/Ross’s newest release is far from flawless, but when it embraces its cute everyman-pop sensibilities, the audience can’t help but listen.