Mason Jennings' voice is comparable to your grandma's old crocheted afghan. It's relatively simple and not very attractive, but it's cozy, warm, and familiar in a way few things are. It's absolutely unique, and whispers from a soul that seems as kind and understanding as your own grandmother's. In his sixth release, Boneclouds, Jennings' words have a way of wrapping themselves around your nerves and stifling them in each of the ten slow, lovely songs. The music's essence is smooth, pure, and rustic, reminiscent of the Midwest with its modestly tender flow. The tracks vary in meter and rhythm, but all are identifiable with Jennings' humble style.

Boneclouds is also a quick listen, 38 minutes altogether, which is almost a travesty considering how much I enjoyed what I heard. "Moon Sailing on the Water" is the most comforting of the songs, with four and a half minutes of placating lyrics that come across as incredibly calm and depressing, but thoughtful, like an accepted defeat. Female backup vocals aid Jennings along with a perfect mix of a light beat, piano, and acoustic guitar. "Be Here Now," the album's lead track, is comparable to "Moon Sailing on the Water" in that it soothes with repetitive lyrics and rhythm. The song has much more of a beat than "Moon," however, and although on the verge of annoyance, the simplistic melodies of both songs come across more in a nurturing light, like someone petting your head over and over, in a good way.

I didn't immediately enjoy the more upbeat songs on the album, mainly because they remind me of church hymns. I don't know if it's Jennings' voice, the lyrics or the way the instruments are played - it's probably a combination of all three, but listening to "Gentlest Hammer" brought me right back to the stained glass windows and hardwood pews. After I got over that initial impression, I enjoyed "Gentlest Hammer," but it brought my attention to a slightly religious feel throughout the entire album, most obviously with the closing track, entitled "Jesus Are You Real." Admittedly, "Jesus" is a downer song I doubt would ever be played in church, but it still kind of took me off guard as Jennings directly addresses Jesus. Even so, I warmed up to the melancholy melody within the first minute; Jennings' ability to tell stories through his songs is showcased especially in "Jesus" and in "If You Ain't Got Love," an astoundingly beautiful song to his child that grapples with mortality. Philosophical undertones are certainly carried throughout the album, and many times Jennings can spit out the most simple-sounding lyric, but the weight with which it hits your ears is surprising.