Finally, we're left with repetitions of phrases like, "set your pretty face up all the time."
There's early Genesis in "A Loser's Worst Grave" (Libby makes "me" rhyme with ennui); strutting, stalking bass chords in "Black Pond" that provide great scene setting; a vamp to "Kid Idiot" that fits perfectly with what I'm pretty sure is an ode to someone caught "dead in drag." There are many times when Porter's guitar and Winter's piano are in beautiful lock step, parting for harmony and then rejoining.
There's a consistent aesthetic and it's well executed without being overbearing. The production helps with that, like the whole thing was recorded at night in the fog, though it was actually done by Confusatron's Jason LaFrance at the Cremains practice space. My only complaint might be with thin and muted drums at times, but that's hard to avoid when recording basically live all together in one room.
The package as a whole is a fun flight of fancy. A foray into the mystical and reality escape. And if you don't like learning from your music, surely you like a little escapism.
LEAVE IT TO BELIEVERS | Released by Johnny Cremains | with Coalsack in Crux + Rural Ghosts | at Geno's, in Portland | Nov 17 | facebook.com/johnny.cremains
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, Carlos Castaneda, Johnny Cremains, Johnny Cremains, More 
, Carlos Castaneda, Johnny Cremains, Johnny Cremains, Leave It To Believers, Less 
