On the follow up to his gorgeous self titled debut under the moniker Cotillon, Jordan Corso has returned with a much stronger and more pronounced follow up with The Afternoons, released on the freakish, Fullerton, California based label Burger Records. Escaping his past of sudden heartbreak, Corso takes you on a philosophical journey through his endeavours of city life and self-discovery. His writing is sharper to say the least, and his song structure seems to be more finely tuned than his earlier releases. Simply judging from the album artwork, it's clear that Corso is still alone in the world, but this time around he is swallowed by the madness of New York City.

The fact that The Afternoons was released on 4/20 is fitting for Cotillon. By no means is it a stoner album, or even one to light up to, but rather an effortless release that came about as the smoke settled after the brain frying holiday. Its subtle nods to hazy afternoons and minimalist psych-rock make for a blunt statement, but as fun and careless as this album may sound, it often points to a more confused and vivid state of mind Corso took into the recording process, eliminating any lingering comparisons to "stoner" rock.

Corso's roots may have begun in California, especially since Cotillon was recorded in San Francisco, but it's no surprise that the demos for The Afternoons were recorded in his newly christened New York City apartment. He presents signs of major growth, as it seems he finally moved up to the big leagues, escaping the way-too-common DIY recording process with help from John Andrews of Woods, and indie producer Al Carson (who has worked with artists such as St. Vincent, Wild Nothing, and Ariel Pink) in the famed Greenpoint studio Gary's Electric.

As Corso guides you through his subconscious, he acts as a renaissance man in the sense of formal genres. He commits to no strict form, as he displays a variety of influences from multiple pools of sub-genres. This is specifically highlighted on tracks such as 'SFO', where Corso dips his toes into the waters of bleak fuzz rock, and 'Alex's Room', where his catchy songwriting comes to the forefront, backed by quirky guitar leads that are reminiscent of 80s college rock. However, as Corso skips from sound to sound, the overall theme of self discovery and the inevitable transition from boyhood to manhood can be found within every song.

It may seem too facile to compare Cotillon to the ever growing scene of bedroom artists, as his sense of musicianship and maturity is evident from the get-go, but he is still in the process of growing. The long road of self discovery lies ahead, but The Afternoons acts as a fashionable pitstop for an artist who possesses loads of potential, and each note, each transition, and each jump from sound to sound brings him that much closer to the end.