Brazzaville's 2006 album, released the following year in the US with some bonus tracks, finds David Brown and his bandmates creating another good set of low-key, reflective songs that almost suggest what would happen if bossa nova had been used to soundtrack classic film noir. The easy grace of tunes like &Peach Tree& and &Jesse James,& to name two of many examples, helps to show that music doesn't have to be explicitly harsh or dark to convey those feelings — something familiar to Steely Dan fans, perhaps, but still worth considering in a new context. Brown's understated singing often belies the sharpness of his words, but helps in further conveying an air of experience — rather than being ‘world-weary,' instead it sounds relaxed, considered but aware. Though there's a general Brazzaville sound at work with the easy-going rock-band interplay, Brown and company are smart enough to know that it's also all about variety, with the audible drum machine clip on many tracks adding a sharp edge on many songs. The crisp, tight dance/rock punch of &Star Called Sun& could be a prime Roxy Music (or even Duran Duran!) song, backing his smooth delivery about a romantic object of affection. Other moments like the beautiful, rhythmic piano part that starts and forms the center of &Taksim& and the soft strings on &Morning Light,& the excellent song that concludes the original album, show that the band never take things exactly the same way twice. Brown's deft way around imagery should also be noted — thus in the title track his surprise at looking into a old coffee house haunt and seeing &no cigarettes, no loud instruments.&