Music is in a crazy place right now. It seems like new genres are forming daily, and in the midst of “crunk,” “hardcore,” “noise,” and who knows what else. “Freak folk,” has emerged as well. At first I hesitated to accept this terminology, but after listening to Devendra Banhart, I realized there really is no better description for his music. On his third album, Cripple Crow, Banhart continues to lead the freak folk movement with his unmistakable warble, delicate guitar plucking, and imaginative lyrics.

Cripple Crow’s cover art is a very intriguing group photo including what Banhart refers to as his “family” – his closest musician friends and collaborators. Many of them are rather indistinguishable, although acclaimed harpist Joanna Newsom is fairly recognizable despite her hat and scarf. The inspiration for the cover is obviously straight from the Beatles’ Sgt. Pepper, which is appropriate considering Banhart’s roots and influences. In fact track ten is even entitled “The Beatles,” declaring “Paul McCartney and Ringo Starr are the only Beatles in the world,” before switching over to Spanish for the remainder of the song.

While Banhart maintains his style absolutely on this album, he also branches out quite a bit. Five of the twenty-two tracks are sung predominantly in Spanish (Banhart’s native language). This isn’t too big a deal, considering his last album was entitled Niño Rojo, but what is more significant is the production of this album. Most of the songs just feel bigger than before, and are a little more polished. This is because Banhart is relatively new to the idea of a formal recording studio – his first album was a compilation tracks recorded on basic tape recorders, and even friends’ answering machines. With this in mind, a professional studio to work with is a huge step up. However, despite the temptations this may have offered for an all new, revamped sound, Banhart keeps it simple, retaining his earthy, genuine sound, which is a major strength. The only difference is there is noticeably less (if any) of a hissing-noise in the background.

Cripple Crow begins with “Now That I Know,” which is carried along with a beautiful violin accompaniment. “Santa Maria da Feira” is one of the Spanish-sung tracks, and the guitar plucking and maracas complete the Latin sound perfectly. “Heard Somebody Say” shares Banhart’s anti-war sentiments: “it’s simple, we don’t want to kill,” with peaceful back up vocals. Next, Banhart’s 1960s influences shine through with “Long Haired Child” and yet again with the psychedelic rhythm of “Lazy Butterfly.” The latter is very typical of Banhart’s nature-related lyrics, only with a more exotic instrumental arrangement to enrich the feel of the song. On “I Feel Just Like a Child,” Banhart’s innocence shines through, with the help of some bongo drums, a tambourine, and some simple, but catchy guitar parts. “Some People Ride The Wave” shows Banhart’s lackadaisical attitude with lines like “Some people ride the wave of generosity / Some people ride the wave of mediocrity / Me I ride the wave of never gonna drown / Oh just fooling around” complete with a lethargic, yet playful trumpet, saloon-style piano, and bar-banter echoes reminiscent of Bob Dylan’s “Rainy Day Women #12 & 35.” The highlight of “Hey Mama Wolf” is definitely Banhart’s quivering voice as it transports us to a woodsy milieu, with the support of a small chorus echoing in the background, and even a wolf-like howling as the song closes.

As dark and ominous as some of Banhart’s old songs like “Wake up, Little Sparrow” are, he takes a much more lighthearted approach to most songs on Cripple Crow. “Chinese Children” for example, while certainly as bizarre a song as ever, is very upbeat and sort of playfully relating to the theory of Pangea, as he claims, “If I lived in China [/Russia/Prussia/India/Ireland/Spainland/Greeceland/etc.] they’d still be Chinese children.” The album finishes strong, though leaves the listener questioning after “Little Boys,” in which Banhart allegedly sings from the perspective of a schizophrenic hermaphrodite. It’s a catchy tune, but it’s difficult to overlook the chorus: “I see so many little boys I wanna marry/ I see plenty little kids I've yet to have.” However, despite its lyrical oddities, the song has plenty of musical merit, and fulfills Banhart’s reputation for peculiar subject matter.

Cripple Crow is evidence of Banhart’s continuing journey and education as an artist and a musician. As it boasts over 74 minutes of music spanning twenty-two tracks, his drive and enthusiasm are very apparent. Someone so motivated to constantly write and create is sure to be a long-term contributor and mainstay in the folk music world, and an icon for all genuine and sincere musicians.