3 Rounds and a Sound found success in its straightforward simplicity and personally nostalgic lyrics. Its follow up, We Are The Tide, starts with an organ and drumbeat, with an anthem of universal hope sung over it. Banjos, guitars, marimbas, and background singers join in slowly, ending in a heavily produced a cappella segment. Not even a single track in, and Blind Pilot has already alienated most of the elements that made their debut so appealing (thankfully, Israel Nebeker’s commanding voice and melody craft remains untouched).

It’s a natural progression–during 3 Rounds, Blind Pilot was a two man project; We Are The Tide has seen the body count rise to six. This expanded lineup is the direct cause of the expanded sound, and after a few tracks, you start to come to terms with the prominent drum set, the occasional electric guitar, and the group vocals that replace Nebeker’s multi-tracked vocal lines from album one. But the songwriting doesn’t seem to have expanded as quickly as the ensemble. The songs aren’t as effortless or catchy, like Nebeker hasn’t quite gotten used to writing with a group yet. He’s much more comfortable leading the song on his acoustic guitar with musicians following him, like on the excellent, minor-keyed White Apple, which is void of excess instrumentation–a bass guitar, long-breathed trumpet, and spaciously played acoustic piano tag along for the ride, laying a firm foundation for when drum set et al join in for the closing moments. Understatedly excellent, guitar-led tunes like this fill the somber middle section, which doesn’t do the rest of the album any favors (except the minimalistic, pump-organ led closer, New York).

Though it may leave the listener choosing its predecessor over it on future plays and Blind Pilot may have some growing to do as an ensemble before they reach the level they play at as a duo, We Are the Tide often found me tapping my foot, and my wife humming along (a sure sign that she’s enjoying the music). It’s still a good collection of pleasant and listenable songs. The songwriting, while not as effortlessly grabbing as their first album, never devolves into cliches or uncomfortable phrasings, and though the composition may suffer some false steps, it never falls flat. And while it may be considered a sophomore slump, it’s only because their freshman year was so excellent.