Slaves' Graves and Ballads presents classical and pop music's bodies-entwined, souls-commingled wedding, with extended families abiding. Their child doesn't have one white eye and one Asian one; rather, he sees differently. The lyrics further develop Longstreth's shrubs-at-the-edge-of-the-lot imagery from last year's debut The Glad Fact, marking how the landscaping in large parking lots makes us feel different about ourselves. Tricked-out Hondas, subwoofers, sunsets, woodchips, chiropractors: all these pieces of the American strip coalesce in a vivid meditation on the technology that domesticates and the instinct that resists domestication. What Slaves' Graves explores in a collective way, the Ballads explore in a personal, individual way. Here, the MO is personal heartbreak and romantic yearning. Uniting both is the feeling that what's most true is hard to see because it is unbearably simple. In this way, Slaves' Graves and Ballads belong to each other.