It's rare that a band comes along whom upon their debut release get the credibility of Elbow. When Asleep In The Back dropped it was spoken of as if the band had been around for years and was finally getting their props. Not knowing any better at the time, that's what I figured. Asleep in the Back made it's share of best-of lists in 2001 and there was no doubt it was a subtle little gem.

On their sophomore outing there's certainly not going to be a slump, they've definitely raised the bar, but it's a bar that really only they have to live up to, because they're as singular a band as you'll find. This isn't to say that they aren't at all derivative, because to the trained ear not only does singer-songwriter Guy Garvey sound a good bit like Peter Gabriel, but he also borrows a few of his lyrical and melodic devices as well.
As was the case with Asleep, Cast remains true to a slow plodding tempo, and I have to be honest it's sameness of tone hurts the record some - particularly on your first few spins. This is an album that is difficult to suss out without going in and living in it for a time.

On the other hand, there's something to be said for a record that maintains a consistent tone: especially if you just want to slap something in and leave it go while you read of go about your business. As opposed to most albums that vary so widely in style and volume that you're constantly skipping tracks or turning one down and the next up - you know what I'm talking about - it's low-maintenance. And most notably the record grows on you with each spin, as you look through it's textured layers and settle into the comfy choral nest that it sits patiently upon.

Garvey is also a kindred spirit of Rob Dickenson of Catherine Wheel, particularly Wishville with his strong rasp-ridden vocals and songs about the difficulty of personal relationships and predominantly skeptical and somber world view. Talk Talk is also another band that they could fairly be compared to in terms of the sonic back-drop that these songs are set to. Still with it's derivative sound and slightly drowsy pace it still manages to captivate. I'm usually pretty good at sizing up and album without having to study them. But in this case I've had to give this one a lot more time, and because of this I've gained the proper opinion of it - which is that it's destined to become a classic. Just don't put it on at a party - unless it's an opium party. I never get invited to those.