It’s been too long since we’ve sung the glories of Vancouver’s eclectic and talented roots-leaning scene, but Bottleneck are as good as anyone we’ve heard from British Columbia for quite some time. All four of them have extensive experience elsewhere, yet seem to have found their ideal partners in Bottleneck- as the blues, jazz tinges and folk-country stylings shuffle about one another, quietly exchanging notes and flirtatious glances. In one sense, Bottleneck are the ideal roots band- because conceptually they have the widest possible definition of what that entails whilst remaining faithful to the idea, and since they exude talent, grace and cohesion. Forget Whiskeytown and all that rock n roll posturing- Bottleneck don’t seem over-concerned about external perception, and just get “lost” (in the scouse sense) once they kick off with the song in hand. So who do they sound like? Well, John Fahey, Mary Black and Natalie Merchant all come to mind, but so too does Mississippi Fred McDowell, if not literally, then in the way they evoke a mood, and get a slow burning groove going in a fashion which suggests that mere intention will get them there- and it does- Bottleneck are effortless and natural. Robyn Carrigan’s vocal, when showcased such as on “Diamond Ring”, is elegant and somehow sounds like it has emotional wisdom to impart- you want to listen, because somehow your heart may be better off- protected- for noticing what she has to say. Scott Smith is no slouch, either, and is positively dreamy on the nostalgic and moody “Summer Days”- it’s hard to tell if he’s happy in the present tense, though- he appears to be longing for a time when life was less complicated and more beautiful, and now all of that eludes him- it seems lost. Overall, the range of styles and songwriting voices makes “Late Nights…” an exceptional companion, and it seems destined to grow in depth with each spin.