With Feast of Wire, Calexico has sacrificed a measure of their experimental, Salsa meets Spaghetti Western 6 minute explorations in favor of pared down far more focused pieces that pack just as much power in their more succinct sound. Joey Burns and John Convertino for all intents and purposes are Calexico, on this their sixth studio effort the meshing of the words California and Mexico makes more sense from the California side of the border (musically speaking). Burns studied classical music at UC Irvine, and throughout the first half of feast there are definite California influences.

First and foremost the duo are fine musicians and composers and much of their writing reflects the soundtrack work of Ennio Morricone, and even hearkens back to Sergio Leone. The instrumental track 7 "Close Behind" is the epitome of this homage, and much of the music on the latter tracks finds Calexico leaning back in that direction.

If you were unfamiliar with Calexico and only listened to the first six tracks, you might mistake them for an outfit similar to Gomez, with more of a poppier eclectic blend of Grateful Dead tunes like, "Me and My Uncle," or "Jack Straw," and good bit of Marty Robbins. There's even a dose of surf guitar. On these tunes Burns papery voice reminds of Ryan Adams, but even reminds of Chris Isaak when he turns up the passion. Then in an interesting turnabout track 4 "Black Heart," is a song is a spot on Portishead haunter. The only thing missing is Beth Gibbons. Burns does the vocals on this one with the same kind of restrained hysteria.

On their more poppier Tex-Mex rousers there's a resemblance to the Mavericks, and there are a number of lovely instrumentals with Classical guitar, accordion and trumpet. Though they've reigned in their more self-indulgent experimental tangents, they haven't escaped it altogether. Track 10 "Attack el Robot Attack," is brief but free form jazz excursion ala Banyan. And track 15 "Crumble" finds the duo vamping about with a Dave Brubeck sounding jam.

There's plenty of great music on this record, but whether or not an American audience will ever embrace such Salsa/meets/Spaghetti Western on the streets of "El Paso" is hard to say.