Here's a quick reminder for the day: life's got a hole in it. Surely, in that itty-bitty phrase written by Rochester-based singer/songwriter Ben Morey, he's fully aware of what ideas springboard off those few words. Wormholes, emotional voids, corruption, ego, the endless pitfalls we face and attempt to dodge, the many spaces we try to fill. What Morey tells us is that we shouldn't, because it will kill us. Fair enough. I'm all for denial and avoidance. Although, the message here, strewn throughout his latest album, Pleasant, is one of hope. Not a new-agey hope that's egging us to believe our spiritual guides are going to change the world, it's a reflective, spectator's hope, and more so, advice from a friend.

Underneath the track listing, in tiny italics, Morey dedicates this album to singer/songwriter Daniel Johnston. If you're not familiar, he's the guy who tried to crash his father's plane into a tree while having a manic episode. More than that, Johnston's revered guitar playing is a constant whir and strum that supports his twangy voice and profound words. Morey's guitar plucks in a similar vein on songs like "Lightbulb" and "Pal Of Mine."

While not all the songs on Pleasant are match-made folk ballads, his subject matter is directed toward the support of a manic/depressive character, done in a way that is light, airy, positive. For instance, on said song "Wonder" Morey's even, clear voice sings "Sometimes you're so happy you could cry/ and sometimes you're so sad that you might die/ but you can wonder, whether you were right/ you can wonder...baby if you'd like" accompanied by a major harmony that floats on with speed. Morey's choice of mixing in piano and violin to the tracks not only give some of the pieces an orchestral background but also diversify this work from being considered strictly folk.

The last song on Pleasant, the Johnston cover "True Love Will Find You In The End," samples a chorus of children singing with Morey and sounds as if they are shouting from far away, another echo and reminder of positivity. Not all the tracks are precious lyrical ballads, though. He balances them with slightly comical and Ween-esque "Don't Go Crazy" and "Small Space." They're topsy-turvy, tambourine shaking and piano stomping songs. Morey takes the feeling of suffocation and makes it a joke, saying, "at least we can get to the bottom of it" that may never happen between two lovers, or friends, but one can try. And that's certainly the point here, to bring those chaotic and docile moments close and translate them into a work of art.