The subtly melancholic and quietly hermetic sound that the engaging project, which was born from the musical rendez-vous by former Hood members Richard Adams and Gareth S.Brown, violin player Sarah Kemp and American dulcimer player and pecussionist Joel Hanson, lets gush on the beautiful "Music for Another Loss", sounds even more fluid and enjoyable on "There Is No Perfect Place", their second album: even if they kept more or less the stylistical recipe and the emotional framework mostly unchanged, most songs show a more sprightly flow insomuch as some moments of the album such as "The Island Of The Day Before" and "Then And Now" could be imagined as the acoustic reshuffling of some excellent tunes from "The Soundings" by Andy Dragazis' Blue States, which someone could label as "chamber pop" or even "easy listening" in spite of the fact we are speaking about something that is higher on a quality level than other stuff which got similarly labelled and other moments scrape the heights already reached by Talk Talk or Bark Psychosis. Besides any possible comparisons and connectionm including some similarities with past releases by the above-mentioned Hood, Memory Drawings' music manages to speak to listeners soul by heart breaking tunes, whose conciceness and immediacy don't screen the wise way by which all instruments render unbearably stabbing feelings, where a sweet psychodrama got opened and closed by the two parts of "Back To The Moment", where lovely acoustic guitar arpeggios and cinematic melodic weaving by dulcimer and violin tickle so tender memories that could electrocute more namby-pamby listeners! Likewise "Music For Another Loss", this album includes a bonus cd for first 100 people who will buy the album with a cello version of "I Could Live Like This Forever" and three amazing vocal versions of "The Island Of The Day Before", "Golden Afternoon" and "There Is No perfect Place" as well as some excellent variations by other musicians: my favorite re-versions are the one of the title-track by OST composer William Ryan Fritch who succeeds in turning ethereal into something visceral even if his style mirrors those epic deflections that many composers of soundtrack dotes on, the bizarre modulations of "The Island Of The Day Before" by The Sly and Unseen (Katie English and Jonathan Lees) who seems to have pierced cow bells by live wires in order to attain a crosscut between bucolic and hypnotical, and the abstract version of "In The House Of Midnight" by A New Line (Related), solo-project by Andrew Johnson (another member of Hood as well as member of The Remote Viewer), but Benoit Pioulard, Talvihorros and Pausal could inspire ecstatic experiences as well.