Devendra Banhart | Nino Rojo
...is a continuation of the lustrous, romantic minimalism that coated his peculiar, yet beautiful, firstExquisite, distinctive beard fetishist Devendra Banhart returns with a second album in under four months. Recorded during the same sessions of his fast-gaining-notoriety UK debut, â€˜Rejoicing In The Hands Ofâ€¦â€™, â€˜Nino Rojoâ€™ is a continuation of the lustrous, romantic minimalism that coated his peculiar, yet beautiful, first.
How can it fail. Banhart is rockfeedbackâ€™s self-styled â€˜Man of 2004â€™ â€“ whether lollingly covering Ella Jenkinsâ€™ â€˜Wake Up, Little Sparrowâ€™, singing about monkeys on the sublime â€˜Little Yellow Spiderâ€™ or verbally squawking along to such brass patterns as featured in the closing embers of â€˜We All Knowâ€™, itâ€™s fascinating how diverse a collage of sentiments and emotions the simplicity of a tattered, personally-illustrated lyric-book, beguiling and quivering vocal and acoustic guitar can convey.
Banhart is an open sort of fellow, too. He doesnâ€™t mind us peering in. â€˜I want to sleep with, with, withâ€¦ you,â€™ he bluntly exhales on â€˜A Ribbonâ€™; â€˜I ainâ€™t never coming back,â€™ he drops during â€˜At The Hopâ€™; â€˜My cheques are also useless,â€™ he even suggests amidst a sumptuous Buckley-aping-Waits â€˜My Shipsâ€™.
But thatâ€™s his most precious commodity â€“ to attract, create fiction, unravel tales of nature and grandeur, through way of intimate singsong that could be taking place right beside you. Timeless is the product â€“ after all, tracks with titles as openly medieval as â€˜Owl Eyesâ€™ and â€˜HorseheadedflashWizardâ€™ canâ€™t be anything but.
Soulful, pure and childlike in the delivery of such innocence, Devendra Banhart is a rare enigma we donâ€™t mind attempting to figure out. Heâ€™s worth it.