ron and Wine is the alias of Samuel Beam, a bedroom recording artist from Florida. These twelve songs (compiled from two of his earlier releases) are all low-key acoustic songs. Beam approaches this relatively uninterestingly, with overdubs of himself singing and performing various instruments. The instrumentation on this album is sparse, though the relatively exciting palette of instruments Sam tosses our way makes up for this. Banjo, (tasteful) slide guitar, and other country-ish instruments are given respectable places in the mix. Instruments will only come out one or two at a time, though, as Beam makes clear this isn’t a full-band affair.


It is what Beam does with this formula that becomes the focal point. Sam has this certain naïve and yet worldly quality that he continually exploits to maximum effect. The instrumentation only pushes this further, recorded in such an old-timey way that it could be labeled ‘timeless’, if only the cd didn’t bear the more modern Sub Pop label.


Opener “Lion’s Mane” is a good example of Beam at his best. If features some great lyrics above a delightfully minimal acoustic guitar backdrop. ‘Love is a tired symphony you hum when you’re awake’ he muses all too quickly above a softly plucked acoustic guitar. A calm slide guitar sweeps in, providing a wonderful compliment to the rest. The song wafts along on a subtle and bubbling pulse, it’s all very nice.


A great effect that Beam employs frequently through the album is subtly double tracking his voice into delicate harmonies. Sometimes these close-singing antics bring Beam a little close to Mark Linkous territory. But fear not, there are no “bees who died at sea” on this album. While Sam Beam doesn’t always knock the lyrics out of the park, he hits few clunkers. The odd bad lyric is covered up by the fact that pretty much every word on this album is whispered.


Even though Beam is the only performer of the music, things can get a little bit thick sounding. That’s why it’s so great when he brings it down a little bit on tracks like “Weary Memory”, where the almost-void of the music pulls you into it almost entirely. Coupled with Beam’s earnest delivery, this is a wonderful effect.


Essentially this is an album of quiet, introspective folk music. You could put it on to enjoy a nice cup of tea, study or nap to. The (presumably intentional) lo-fi recording quality may alienate some, but that’s the price we pay. The Creek Drank the Cradle is a pleasant surprise.