Although I understand that Roberts has acquired something of a reputation among fringe fans in various genres, my own knowledge of his work is basically limited to his fine collaboration with Werner Dafeldecker on the Erstwhile release Aluminium as well as the odd sighting here and there. I came to the recording, therefore, with nothing in the way of the expectations that have seemed to contribute to (if not infect) various write-ups I�ve seen.

Be Mine Tonight consists of four songs and songs they, in fact, are. �all pidgins sent to war, palace of adenaline v and e.e.� opens with a minute or so of light drone, not very far removed from Aluminium but swiftly settling into a slow rhythm of piano chords, brushed drums and strummed guitar and eventually Roberts� whispery, quaking voice. Although the background is somewhat more abstract than you�d find in most �alternative� folk rock (it should be noted that among the musicians present for the session were the wonderful Italian guitarist/electronicists Giuseppe Ielasi and Christian Alati as well as Dafeldecker), the basic structure is comfortably familiar if non-special. Its distinguishing factor, from a pop perspective, is likely its 10-minute length and the extent that the drones are allowed more or less equal footing with the vocals. It segues directly into �disappearance on the grandest of streets�, whose initial guitar chords call to mind some of the work of Gastr del Sol circa Upgrade and Afterlife. Once again, brushed percussion introduces a loose rhythm, but on this piece the instrumental prologue lasts a good six minutes and Roberts� voice emerges far more organically than the almost obligatory fashion in which it appeared in the first song. The inclusion of some bowed squeaks (Dafeldecker on bass?) adds some nice spice to the brew and, along with a wide range of guitar-induced sounds, helps to create a very satisfying, very full track.

�smash the palace and what nerves you got� is both the shortest and most traditional piece, a medium-tempo number that, apart from a high, keening guitar in the background, wouldn�t have sounded out of place on an early Golden Palominos album, though it does surprise with a couple of fierce chords at the very end. The disc closes with �letter to monday,� its lyrics taking off from the adages about the attributes of children born on various weekdays. The insistent, two-note guitar line establishes a lovely sense of foreboding as well as imparting a slightly ethereal quality that reminds me of Loren Connor�s work with Haunted House (another Erstwhile release). Once again, Roberts allows the song to unravel at its own unhurried pace, expanding and contracting as it sees fit, the vocals wafting in and out as though pulled by the tide. For me, this is the most fully realized and luscious track on the album; I have no idea how his previous fans will react to it. I would have liked to hear further pushing out in this direction, further breakdown and reassembly of the song form but as far as he goes, Roberts does a pretty nice job. I look forward to hearing more.