Historical Graffiti is the bands fourth full-length, out in 2016.

Gary Arce, the guitarist, seems comfortable sitting on a single vamp throughout the opener The Wind Cries Edalyn, allowing the additions of violin and bandoleon accordion (played by the tango musicians Sara Ryan and Adolfo Trepiana, respectively) to weave melodies in between. Despite the titular connection to the Jimi Hendrix song, it bears no discernible resemblance to The Wind Cries Mary and it is a deceptive number; what seems such a simple, almost easy-listening song reveals more colour with every listen.
Her Phantom Finger of Copenhagen is slightly darker and almost sounds, with the slight distortion on Arces guitar, as if it could have come from Pot Head, the EP the band released in 2005. Mario Lalli, the bass player, begins the third song, Naomi Crayola with a throbbing single note, aided by Bill Stimsons metronomic drumming. Imagine if Can grew up near the beach, its that sort of vibe. The only problem with the song and the album, as it happens is that it is too short.

Ryans violin returns in The Secret Language of Elephants, this time playing the role of keeping the main vamp alive while Arces guitar generates an evocative soundscape that opens in your mind a wide, violet sky like that above a desert the moment after the sun disappears for the night.

The closing song and title track is the most free of the five on the album, with Stimsons beat conjuring memories of Kyusss more mellow moments from Welcome to Sky Valley, Lallis bass marking the simplest of bottom ends and Arce having a ball over the top.

A1. The Wind Cries Edalyn
A2. Her Phantom Finger Of Copenhagen
A3. Naomi Krayola
B1. The Secret Language Of Elephants
B2. Historical Graffiti