The long-awaited Ross Beach full-length is here (actually, it's been here for a while, at the bottom of a stack of CDs that I've finally worked my way through -- sorry, Chicken Ranch), and it's worth the wait. Beach, who is sort of the Pete Best of the Elephant Six cadre (in the "wasn't around to get his share of the acclaim" sense, not in the "got kicked out" sense), has served time in close to twenty bands, including indie-cred-establishing stints in Neutral Milk Hotel and the Gerbils. Luckily, the experience hasn't left him churning out sub-par psychedelia; rather, his easy, likeable country-rock style distantly resembles early REM or a less self-absorbed Camper van Beethoven, and the inclusion of mandolin, harmonica, jews harp and violin adds a cheerily "down-home" air to the proceedings. Ross' wry lyrical humor remains a staple, though his understated delivery and Ride Theory's lack of an enclosed lyric sheet leaves this revelation largely in the hands of his song titles. And let's be honest: how many of us couldn't make room in our respective hearts for songs like "Acts of Extraterrestrial Vandalism", "Love is for the Weak", "Sideshow Wannabe" or even the jauntily ribald "Lucinda Console", which isn't about a font at all? Easily the most polished and pleasant Chicken Ranch release to date, Ride Theory is the perfect background for hours of happy slacking-off.