This album was supposed to be Daniel Smith's Magnum Opus, and though it's hard to say if it's his best work, it is certainly the most theatrical Danielson (famile, brother, etc) release I have heard. I love the dynamics on this album, and while the persistent gang vocals on the album make it easier to digest, they don't detract from the beauty and cleverness of the composition. It has garnered alot of attention for the guest artists involved (I'm not dropping names here, that's a magazines job), but the beauty of it is Daniel's eclectic arrangements. The music is solid. Nothing technical, but very creative directional shifts throughout. It may take more than one listen, but the subtleties of this album are extremely rewarding. the best part is that they don't substitue schtick for substance anywhere on the album. It never digresses into cheap pop or filler material. A very enjoyable, unique work.

I think Ships is a great CD. Nobody sounds like this guy and I only slightly see a connection/influence to Sufjan in some of the music and background vocals, but the way he sings and the tenor of the songs is all his own. Even though there's a lot of yelping, howling, and careening arrangements the songs are very good and have a weird energy to them. The music has a kind of nostalgic edge to it that really makes a weird juxtaposition of old and new... kind of like vaudeville punk. It's a strong effort from start to finish and I look forward to the next Danielson release. This ended up being one of my favorites of 2006 and there's no second guessing that for me.

Obscurity is easy; artistic clarity requires discipline. Occasionally interesting but for the most part boring in its effort to be different - like every freshman poet. Shrill delivery.

I really wanted to like this band. Christian background with high aesthetic standards - sounds like fodder for great discussion. Instead, it comes off like one of those community college poetry-writing contests.

Obviously the guy is a skilled arranger but there's so much effort thrust into the listener's face: Look how hard I tried to change it up for you! The music doesn't support the lyrics and the lyrics don't mean much of anything except possibly to the writer and one wonders if this isn't a Robert Browning situation: "[When I wrote these words only God and Daniel Smith knew what they meant; now, only God knows.]"

What's left? Shrill musical non sequiturs and burdensome lyrical content. Be literary, be mysterious, but don't fall into the trap of the undereducated blowhard creating his own "mythology" because real reading, research and synthesis was too hard. Mr. Smith has a following and a gift for arrangement - but he's short-changing his listeners and limiting his potential impact by messing about with second-rate material.

People on at least 20 mg daily of Ritalin should love this, and if your anti-depressents make you manic sometimes, then this natty lite is for you. However marijuana users will find very little here to like. They might even use it as a coaster.

First, I do like this album. You'll find a number of melodically pleasing tracks here. There are a couple of problems, though, that can make listening a grating chore.

First, is that danged voice! Take Devendra Banhart's exaggerated vibrato at his Tiny Tim worst, then add a little nails on chalkboard timbre, and you have an inkling of Daniel's singing style. OK, I just shuddered there for a moment.

Secondly, there are the harsh arrangements bordering on cacophony. Some comparisons have been made to Sun Ra, but see, where I come from that's a bad thing.

It's not all bad, of course. Some of these compositions are fun and catchy and work overall, but I suspect the average devotee will be filtering out about half of the tracks.

Still, I'm OK with having spent my shells on the album.