Naomi Yang was involved in graphic design before she ever picked up a bass guitar. Or, at least, I think so. In explaining how Dean Wareham, Damon Krukowski and Naomi Yang formed the seminal Galaxie 500 while at Harvard in the mid-1980s, the liner notes of Rykodisc's reissues of their only three albums state that Naomi began only as the "graphic advisor." After a failed search for a bassist, "Naomi announced that she would play bass (something she had never done previously)."

While at first I assumed that "graphics" referred to technical production-- that is, as in "graphics equalizer"-- I became confident in my present conviction after noticing that she's credited for the design of the Galaxie 500 albums, and Damon and Naomi with Ghost. So, why does this matter? Because everything about the latter album's artwork is incredibly deliberate. I don't feel myself stretching when I say that Naomi Yang probably envisions the new album's "look" as a reflection of its sound.

If these are her thoughts, she's quite right. The manner in which Damon & Naomi with Ghost appears on the front and side of the jewel case is the first of many telling visual signs; for "Damon & Naomi" is printed in standard black ink while "with Ghost" is given a silvery gray that almost disappears when viewed at certain angles. In other words, like an incarnation of the fantastic, Ghost's influence is often imperceptible, though it's always around.

Since Masaki Batoh aided in the album's production, and since he, Michio Kurihara and Kazuo Ogino provided background instrumentation, Japan's Ghost-- or at least its core members-- had a hand in every song here. One would think that, coming off of last year's rich Snuffbox Immanence, the psych-folk collective would add profound depth and originality to Damon and Naomi's dreamy folk. Ghost were just what the duo needed to put the "core" back in the slowcore; it had been noticeably absent in their post-Galaxie output.

But, regardless of who's to blame, Ghost's role isn't large enough to alter Damon and Naomi's sound. The tasteful shiver of a pedal steel on the opener, "The Mirror Phase," could be attributed to Ghost, as could an accordion-esque undercurrent. But even if they're the work of Ghost, these and other less identifiable atmospheric sounds are by no means overt. Instead, they're buried frustratingly deep below the simple drums, acoustic guitars and vocals, and often inaudible without intense scrutiny.

The only moments when Ghost's influence on Damon & Naomi's material takes centerstage-- other than the album's four conspicuous electric guitar solos-- is on "The New World," the music for which was composed solely by Ghost. And it shows: the acoustic guitar steps aside to make room for a sprightly harpsichord, orchestral keyboards, haunting choir-chords and, beneath it all, metal that clanks, clashes, shatters and splashes. Other than these few exceptions, Ghost never unleash the lush, varied instrumentation-- not to mention Batoh's distinct voice-- that makes their work so unique.

But just because this is essentially another Damon & Naomi album doesn't render it unlistenable. Damon Krukowski's off-key falsetto works nicely alongside Yang's simpler, more consistent vocals; by sharing the microphone, they prevent either voice from becoming unbearable. And tracks such as "The Mirror Phase," "Judah and the Maccabees," and "The Great Wall" are beautiful songs, even if they do contain simplistic, pseudo-proverbs such as "The ocean is wide, the tides run deep," and, "These heights will rise faster than they fall." And then there are songs like the conveniently-titled "Don't Forget," which are as forgettable as they come.

The photographs in the album artwork are of a moss-covered hillside bathing in sunlight, a bamboo shaft against mud-packed reeds, a parabolic shadow in the sand, and a slant of light against an interior barn wall-- all of them nearly surreal pastoral scenes that are pleasant to the eye. The well-focused images contain significant detail, but there are only a few distinct objects to focus on. After looking over them a few times, there's nothing else to be gained. One must accept them for their elevated warmth alone. The same could be said for the music, which is why Ghost with Damon & Naomi would have made for a more compelling listen.

-Ryan Kearney