I've listened to this album at least 50 times since getting it in the mail just recently, often over and over again in succession, and each time I find a different song to love (although one clearly stands out as my favorite). Blake Brown, a Colorado musician who I saw play solo when I lived there some years ago, has crafted a brilliant album of soft, lush, and sparse tracks that speak hauntingly of heartache, longing, and other common emotions. Like early Elliot Smith, the softer moments of Conor Oberst, and other similar musicians, Brown has proved himself a master songwriter, musician, and spinner of moods.

The key here is mood, because the production - far and away better than on Brown's fantastic debut release - gives these songs weight and depth, and I can almost picture him playing in a large space like a church. Brown's very unique, high-pitched voice might surprise some at first, but it quickly will appear an obvious fit for the music. Accompanied by other musicians for this release, Brown's music is filled out admirably, even though the focus remains his moving vocals, his soft and lush acoustic guitar, and his slow pace.

There's not a single track here that can compare to the brilliant "A Moment of Silence." Soft, lush guitar perfectly accompanies Brown's voice in his most subtle moments, and the addition of soft vocals from Sarah Boyd fit perfectly. But when the electric guitars kick in, the song - without picking up the pace much - conveys so much more power and mood. And the ending, as acoustic and electric guitars work together and the vocals careen off in the distance, is amazing.

That being said, the rest of the album is quite good. Brown's voice is slightly haunting as piano mingles softly with the strummed acoustic guitar on "The Tragedy," on which he sings "A kiss, a knife in my back / a knife in our backs / and I can't close my eyes and make it go away this time." Lighter, with bass and multiple guitar parts accompanying Brown and Boyd's vocals, "Lullabies" is another beautiful soft pop song, while they contribute beautifully to the melancholy and desperate feel of "Without a Name."

The rhythm picks up on the more uptempo "Honest Lie," and the change of pace is perfectly timed. The song still conveys Brown's sense of melancholy, however, as he sings "No obligations. Just under time's remorse. 'Let go, and let go.'" On the stark "Tied Tight," Brown's voice really soars, giving even greater weight to his lyrics, especially as he sings "I must apologize for all the weight I've been." And it sets the weight nicely for the Elliot Smith-like feel to the closer, "Ache," where the tone is almost light even as he sings the most poignantly sad lyrics, "I've held my breath for too many centuries, and for this I'm guilty / But in my defense I only wanted to love you and have you love me."

Flicker and Fade is all about mood, from Brown's dark lyrics, his soft and longing vocals, and the gorgeous acoustic guitar. And the mood is perfectly conveyed. I play this album over and over and have not gotten tired of it in the least. In short, it's a brilliant release from a fantastic musician who's destined for great things.
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