By MICHAEL ARDAIOLO

While the Fahey comparisons can’t be ignored, the resonance of his guitar playing and the melodic textures remind me much more of contemporary players like Steffen Basho-Junghans and Jack Rose with hints of prog-like progressions from the likes of the John McLaughlin camp. While Johnson concocts wave after wave of tinny harmonies, Bendian rattles off odd syncopations from his shed of bangable material, sometimes taking the lead, as on “Superman,” or just accentuating Johnson’s playing, as on “Uncle Toby’s Place.” The music really intrigues when Bendian pulls out the inventive or melodic percussion: “First Breath in a Bean Field” features somber picking over washtub water rhythms, “Jesus on a Tire Swing” is accentuated with almost church bell chimes and hollow subtle taps, and “Where the Rivers Meet” finds a country guitar yearn emphasized by slow building saw and bow-like frequencies. “Rockasilly” and “Whitewash Worship Warehouse/Fine Washer and Dryer” maybe the two most realized tracks though; the former riding Johnson’s aggressive Appalachian grooves and woodblock syncopation from Bendian, while the latter is much more mellow with Johnson shaving off tinny shreds of slide guitar over Bendian’s resonating water drum tones. Like we have discovered time and again at this site, the unassuming albums always seem to be the most intriguing. Based on artwork alone, which is comprised of children’s drawings on faux-lined paper and too pretty goofy-looking middle-aged men (one with a pot on his head) on the cover, most people would glance and move on.
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