by Matt Fink
On his third, and maybe most conceptually complete, album, Vic Chesnutt emerges as that rare kind of artist who can see right into the living room of small-town America. Drunk opens with one of Chesnutt's more overtly hook-oriented songs, the punchy &Sleeping Man,& which also appears later in the album as a slightly twangier reprise, and is a fine commentary on the insatiable hunger for human spectacle that plagues American culture. &One of Many& is a bleak tale of murder and execution that finds Chesnutt truly at the top of his game lyrically and melodically. A fine example of Chesnutt's songcraft is the plaintive narrative &When I Ran Off and Left Her,& which is indicative of his style in that its laid-back delivery masks a certain amount of tension and paranoia. A consistent theme on Drunk, as well as in Chesnutt's other work, is transition -- whether escaping or just moving -- to someplace else. Very few artists can communicate these kinds of themes as eloquently and as uniquely as Chesnutt, and Drunk is a fine example of how he can turn seemingly self-absorbed songs into something strangely universal. The distorted, guttural title cut and the bouncy &Super Tuesday& offer further proof of Chesnutt's impressive ability to evoke different moods. In the end, it is probably that ability which makes his genius the most readily apparent.