Six Organs of Admittance, a.k.a. guitarist and songwriter Ben Chasny, exists at a unique stylistic crossroads where acoustic folk and indie psych merge. After 2009’s sonically dense Luminous Night, Chasny has come back to a very comfortable, albeit creative place. Asleep On The Floodplain, his latest LP release via Drag City, is a partial return to the acoustic guitar that defined Six Organs history. The dark, haunting electric guitar melds with the vocals to create a sound that’s sometimes clear, sometimes indiscernible, always beautiful.

Working alone allowed for a more cohesive album, giving Chasny time to reflect and make his own conclusions about how a song should move or finish. Each song is memorable for it’s own reasons, but they all drift on a common plane–even if they may arrive to this place through different means. For example, “Hold And Let Go” was originally meant for a film, but never used. Though it’s technically a leftover, its aura is still impressive. The track could lull anyone into a pleasant slumber with its gentle and reserved feel. The song gains power through simple repetition, adding layers of spacey acoustic riffs and subtle organ swirls as it progresses.

After multiple listens, it becomes increasingly clear that Asleep On The Floodplain draws upon images of Chasny’s youth. On “A New Name On An Old Cement Bridge,” I felt Chasny’s acoustic guitar rushing over me with fond memories of times past. So, at the end of this thoughtful record, I was left with the sense that Chasny’s music will stay with me for some time. Certainly, this LP will gain some kind of stake in 2011’s best music, and it’s comforting to know that–along with the beasts–I will be enjoying life Asleep On The Floodplain.