It's not as deliberately period-specific as 1972 - how could it be, when the track "Middle School Frown" involves Rouse's reminiscence of his adolescent yen for a dangerous, dark-eyed, Eighties New Wave beauty? - but if anything, Nashville offers a more crafted approximation of the typical singer-songwriter project. His retro attitude is signalled by the album's compact, quality-not-quantity size, and its division of the 10 songs into two notional sides, as if it were an updated edition of an original period vinyl album but it's Rouse's command of the songwriterly tropes, and producer Brad Jones' masterly marshalling of the instrumental settings, that give the album its distinctive, timeless ambience, at once ancient and modern. With Nashville, Josh Rouse continues his stylistic re-imagining of the early-1970s era that he so beautifully evoked on 2003's 1972.
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