Musical comparisons aren’t my strong suit – it will come with age, I’m sure – but I sense Brown Recluse lean heavily on their influences. Those who have a clearer sense of where a band or artist have invested their listening time may take exception to such obvious inspiration, citing lack of originality and/or creativity. But, for listeners still with some moisture lingering behind their ears, such cynicism might not come into play, despite how indebted they appear to be to the not-so-distant past.

Such an opening paragraph incites comments claiming that everything we hear sort of sounds like something else, but, we shall refrain and isolate Evening Tapestry for what it is. So, what is it? Evening Tapestry is, in fact, the debut album from Timothy Meskers and Mark Saddlemire, the brains behind Brown Recluse, and it’s a pretty jaunty affair. I make a point of it being their first full legnth because it was all the way back in 2006 that the band came to being. Five years from formation to LP release is a long time in any given era, but in blog-centric times, where hype and hysteria plays such a pivotal role, it’s especially surprising. Such an understated approach acts as some reasoning as to why Evening Tapestry never seems to demand your attention then. The record plays out effortlessly – at times delightfully; particularly when the spring sun decides to warm your cheeks – although I can only imagine it being an album of choice when in need of something to cause some minor ripples in an otherwise still airspace.

Evening Tapestry is a cohesive piece of work. By that I mean the tone is very much set by opener ‘Hobble To Your Tomb’. It oozes a youthful innocence, a characteristic which endeared me to the Magic Kids’ debut album from last year, but I just can’t buy into Evening Tapestry with the same enthusiasm. Well, not for its duration anyway. Some of the tracks do conjure some strange images in my head, though. For example, I can quite clearly see ‘Impressions of a City Morning’ playing over some Laurel and Hardy-style slapstick, but with modern, hip teenagers taking up the respective roles. While the intro on ‘Golden Sun’ is very weekend breakfast radio. I shan’t digress any further with such imagery in fear of readers’ casting aspersions.

The album is littered with horns; a feature which has a tendency to split listeners down the middle. Some see it as a cheap way of stirring up glee when, in fact, it has the opposite effect. Personally, I’m a bit partial to a good serving of brass and it helps when it’s employed in all the right areas as it is here. ‘Wooden Fingers’ is a prime case in point. The song floats about carefree before being kicked skyward, first by an uncharacteristically vigorous guitar line and then a perky flute and trumpet combination. Unfortunately, such moments only come in fits and starts but that won’t stop you from wanting to come and experience them every now and then. It’s just that the mood Brown Recluse are trying to inspire doesn’t fill me up all that often, you know?