In the current pop singer-songwriter renaissance (John Mayer, Pete Yorn, etc.), Arthur’s art stands out as the most emotionally naked and musically ambitious. Darker and more sprawling than 2000’s shining Come to Where I’m From, his latest is again haunted by love and Christianity. It’s also suffused with falsetto choirs, lush (self-)production, and deceptively delicate tunes that can carve notes in your flesh. Seventy-five minutes long, but you’ll press ”play” again when it’s over.
We gave it an A-