Call it cocaine country or “western expanse music,” but that lonesome quiver traded by Carrie Keith and Dylan Sharp is cutting beyond description as the minimalist melodies are inviting and imbibing in a background-music-to-Easy Rider sort of vein. There’s a strong urge to shut it down, but the uneasiness doesn’t allow for it. It’s as deliciously weird as operatic. Are they tuned in to something we’re not? Ballads for the dead they may aim to be, but vibes for the living is the underlying product—uneven propulsions in rhythm, offset by weary riders filled with death dirges of mythological proportions, like a reverse yin and yang representing nothing at all. Out Of Range is just that, but being able to tell which end is coming or going is the real question at hand. It’s every bit as special as it sounds.