Brooklyn band Wilder Maker’s principal songwriter, Gabriel Birnbaum says that the group’s latest full-length, The Streets Like Beds Still Warm follows “an overall formal asymmetry, like dream logic.” It is richly textured, moody, and deep and is as distinctly narrative as it is literally experimental. To call it a concept album, as big as that term is, would actually be to sell it short. It is, in fact, only the first part of a concept trilogy that tells the tale of one long night in the city, from dusk to dawn. The album follows a lonely narrator as he drifts down avenues and in and out of bars and hospital rooms. While there are no visual cues, per se, on The Streets Like Beds Still Warm, the record owes a great debut to cinematography. Impressionistic swirls of effected guitar, drums, and saxophone support Birnbaum’s husky and worldweary baritone croon which sometimes echoes Bill Fay. But at times, in all its dim-lit barroom storytelling, one may think of Tom Waits. The band draws direct influence from the work of alt-jazz contemporaries Anna Butterss and Jeff Parker as well as ambient progenitor Brian Eno. The Streets Like Beds Still Warm is, holistically, a statement of nocturnal and hypnotic storytelling – a matter of both style and substance. For fans of Robert Wyatt’s Rock Bottom, Jim O’Rourke, Van Morrison’s Astral Weeks, Oren Ambarchi, Bitchin Bajas, Eiko Ishibashi, Arthur Russell, Tortoise.