Eric Mathews' second album of pop lushness differs little from its predecessor, 1995's highly orchestrated It's Heavy in Here – standard guitar-bass-drums trappings are but foot soldiers amid platoons of horns and harpsichords, all of which must answer to that higher power: the carefully crafted song. Even Matthews' own soft, friendly voice is just another element in the big picture. The Lateness of the Hour is orchestral even when Matthews doesn't use an orchestra: On "Everything So Real," when the guitars sound like they're about to stampede, they're actually as controlled as a string section. And the piano, bass and spare percussion on "No Gnashing Teeth" serve an arrangement that would make Brian Wilson proud. But this is pop music for the rain and a fire rather than the beach. (RS 768)

DAVID GREENBERGER