Eric Chenaux likes doing things in two's. He has a keen obsession with keeping things in a regular order - an alignment, a neatness - that he only he can understand. His debut Dull Lights dropped in 2006; his second album Sloppy Ground in 2008 and his follow up Warm Weather With Ryan Driver in 2010. Notice the pattern yet? Mathematically even in distribution, you could say.

Once again, his newest release maintains his familiar idiosyncrasy of keeping things in two's. Straightforwardly titled Guitar And Voice, it's nothing of a sophisticated expression – yet it does carry with itself the purity and essence of the album. Guitar And Voice is, in its most pellucid element, guitar and voice, and not much else. The result is a collection of slow, gently trailing songs that are inevitably naturally transparent, giving 'easy-listening' a whole new definition.

Recorded on the always noteworthy Constellation Records, Chenaux ventures on another discovery of himself and the natural environment that surrounds him. The real difficulty lies not in the listening of the record, but in not imagining Chenaux walking through a beautifully tranquil country scenery on a breezy Springs day; his hands trailing through the long malachite-coloured grass as a dim light hopelessly attempts to peek out from among the clouds whilst the first flies begin to spawn in the air. If there was ever a video to accompany this, it's the reworked 'Dull Lights (White or Grey') encapsulating that feeling profoundly. Chenaux probes deeper into the truthful essence of the song, teasing listeners with a spontaneous croon of sentimental value and a plucking of a stiffening nylon guitar.

'Amazing Backgrounds' plays the same game. Fronting as the opener to the album, it introduces the indulging weightlessness that carries on throughout the rest of the eight tracks. Like the entity of Guitar And Voice, 'Amazing Backgrounds' is stripped back, bare and naked. From graciously pampering in Chenaux's emotionally vivid naturalistic lyricism: “With the clouds in the sky / and the bags under my eyes” to a tearful guitar quivering, it drips in inconsolable melancholy, each and every whisper of Chenaux's graceful tenor thriving in romance, which, by standard of meaning, is unearthly economic, and spectacularly reminiscent of Bon Iver to name one of many. It's these stripped-back exercises that create the modesty and bareness of Guitar And Voice.

But that's exactly it. Something is missing. Though admittedly 'Put In Music' and 'However Wildly We Dream' relish in the simplicity of Chenaux's astounding song writing talent, many of the songs almost feel like a barren wasteland, lonesome and isolated, without the accompaniment of supporting instrumentals. 'Simple/ Fontal' and 'Glitzing For Stephen Parkinson' seasonally share the same ambient swashes as each other which, thematically, stops the album's fluent progression to a halt.

As many will often argue, writing a fourth album is a difficult process. For many, you have unequivocally exhausted your musical defiance, tired your creative flow and wheezed your final breath so that nothing more is left of you than a cold cup of coffee and a blank notepad. Unfortunately for Eric Chenaux though, his destiny has lead him to create what would have been an adorning debut, but in reality a languid fourth album. I guess we'll just have to wait another two years to see what Chenaux's got in store for us then.