"Why do I dedicate so much of my time to people who don't care if I live or die?" Croghan asks on the opening "Gweneveire," a somber, piano-driven number that tickles like falling rain on teary cheeks. While most of the tracks on this nine-song effort fall into the slow, hazy side, Croghan offers bursts of untainted indie rock on "It's Gonna Be Alright," powered by a soaring chorus and mounting drum lines, and "Cupid's Credit Card," where a distorted, off-kilter guitar chord winds its way through the song the way the noise of a garage band floats through a suburban cul-de-sac.
"Friday's Face in Sunday's Suit" serves as a lazy, hazy, slow jam studded with keyboards that could double as the backdrop in a melodramatic movie moment. The closing "Otis Tolstoy" brings a '50s element with Wurlitzer whirls and Croghan's piercing squeals toward song's end that aim straight into the heart and soul of doo-wop. This last tune, like much of From Burnt Orange to Midnight Blue, gives a warm and fuzzy feeling, kind of like putting on underwear straight from the dryer.