Joseph Arthur kind of snuck up on us from behind in 2000 with his second album Come To Where I'm From. None of the major magazines had scarcely mentioned his existence, and all of a sudden Entertainment Weekly proclaimed the album the years best. Up against Coldplay's debut, Travis' grand The Man Who . . . and I am Shelby Lynn, Arthur's debut was certainly not the best of the year; still it was an impressive splash from a gritty and piercing new voice. It was a meaty and confident album that embodied the melodic pathos of Elliot Smith and the gloomy quirkiness of E. Everett of Eeels and Sparklehorse' Mark Linkous.

Lore has it that Arthur was discovered in some New York dive by Peter Gabriel, still neither Peter's help or Entertainment Weekly's proclamation has been enough to raise Arthur above the rank of obscure singer-songwriter. His somewhat tepid follow-up to Come To Where I'm From, Redemption's Son, had it's moments but didn't raise his stock much in my eyes - and this release finds Arthur changing horses in midstream in an attempt to capture a wider audience. Our Shadows Will Remain is his most unfocused and insubstantial work to date, finding him wandering further and further from his strength. That being his razor sharp and visceral voice scratching and prodding about as he explores the darkness with strong melodies and observant lyrics.

After numerous listens I've warmed-up to Our Shadows Will Remain, but it certainly is a different animal than his previous work. Much of Shadows is surprisingly overproduced, with several fruity and floral arrangements and a lot of obtrusive drum programming. The first single "Can't Exist" smacks so much of Ryan Adams that he should get royalties from it and "Stumble and Pain" shows Peter Gabriels influence in a huge way. It's dark and bombastic soundscapes certainly remind of Peter's early solo work - in fact it almost sounds like a cover.

Arthur hits his stride on the fifth track "Echo Park," with it's multi-layered harmonies and hopeful repeating chorus of "Freedom" it's definitely among his better songs. Still songs like "Devil's Broom" sport the kind of cheesy orchestration you'd expect from a bad E.L.O. song: and tracks like "Even Tho" and "Wasted" feature production ideas that remind of mid 80's new wave bands. There are a number of classic nuggets to be unearthed with patience, particularly the closer "Leave Us Alone," a song that is far more akin to his original approach. Overall, however, I think you'd have to place Shadows on the disappointing side of the ledger.

His lyrics this time out are a mixed bag, sometimes tapping into his brutally introspective nature and other times focused upon topics such as war and politics. By and large, this record represents Arthur's attempt to claw his way out of the darkness and into the light of day - where greener pastures can be harvested for cash. It's a journey that, while occasionally worthwhile, ultimately rings false, even though his acerbic and captivating voice makes it worth a look for his fans.