"Lewis & Clarke blew up their pastoral folk sound into long, torn-open and moody soundscapes on 2007's Blasts of Holy Birth, and they have taken that brooding tangled beauty down even darker roads....Light Time shows once again that Lewis & Clarke's quiet sound is an affecting one."
"Lewis & Clarke doesn’t play songs as much as unfurl them, slowly letting ribbons of sound billow and cascade. The power, though, is palpable, made even stronger through delicateness, a paradox that is at play not only in the music on Light Time but also in its metaphors for life, loss and renewal.
"These songs do more than tell stories: they create moods and inspire thought...what sets Lewis & Clarke apart is their ability to flawlessly execute changes in dynamics, adding a new dimension to the narratives of their songs."
Hypnotic mountain folk... spare and elegant... full of strings and woodsy imagery...songs for getting lost into"
"A reminder that the heart, above all else, is a muscle."
"Solemnly subtle, there's a sense of heaviness that seems to be barely escaping itself...songs that embrace their own hopeful anguish, and satisfy our need to feel."
"(Light Time) doesn’t just have three noir naturalistic Rogai-penned tracks to worship and adore — he and his crew cover the Leonard Cohen masterpiece “Chelsea Hotel # 2.”
-PHILADELPHIA CITY PAPER
"Haunting, hushed vocals and introspective songs elegantly couched in understated arrangements"
-THE MORNING CALL
released April 21, 2009
Lou Rogai (Guitar, Vocals, Rhodes Piano, Acoustic Piano)
Ian O'Hara (Double Bass)
Shane O'Hara( Drums)
Mollibeth Cox (Violin)
Jami Novak (Trapkit on 'Dead & Gone')
Dan McKinney (Hammond A100 Organ)
Tom Asselin (Atmospherics, Ambience)