"No computers were used in the production of this album," reads a note in the artwork for the latest by indie-rock icon Eric Matthews, and I doubt there was much technical wizardry involved in the new album from fellow underground heroes Damon & Naomi, either. Not that these artists are Luddites; they just value an old-fashioned approach to making their brands of beautiful, atmospheric folk-rock, with the emphasis on great instrumental sounds and strong singing and songwriting.

After launching a revival in orchestral-pop with the self-titled 1994 album by Cardinal, classically trained trumpeter Matthews dropped out of the rock scene following his 1997 solo album, "The Lateness of the Hour." Hailed over the ensuing years by the sensitive souls in the emo world, he returns now on one of that genre's favorite labels, but he's coming back sans trumpet and orchestra, with minimal backing from acoustic guitar, and that's a big loss. His silky voice and pastoral melodies still recall the best of Nick Drake, but the self-referential tone of the lyrics -- especially on the resume-inflating "Cardinal Is More" -- would be easier to take if it was buried under strings and horns.

While they will always be fondly remembered as the rhythm section of the influential trio Galaxie 500, Damon & Naomi have been making powerful albums since the mid-'90s on their own and in inspired pairings with artists such as Michio Kurihara of the Japanese band Ghost, and I'd hold their catalog up against former partner Dean Wareham's output with his post-Galaxie band Luna any day.

Here, Kurihara provides wonderfully textured guitar to the duo's gentle rhythms and supple vocal interplay, with the originals every bit as strong as the well-chosen covers of George Harrison's "While My Guitar Gently Weeps" and Caetano Veloso's "Araca Azul."

Jim DeRogatis