Since 2004, Portland, Oregon local artist, Justin Ringle has been trying to make it from the underground, unknown scene full of folky soul, banjos galore and raspy voices. Ringle gathered many local instrumentalists that have been in a constantly changing lineup to form the band Horse Feathers. After eight years, Horse Feathers released their fourth album, “Cynic’s New Year,” showcasing the crafts of the Portland based group that brags about its sassy Americana style with success.

“Cynic’s New Year” debuted on April 17 and started where the band’s last album left off. Horse Feathers brings their distinctive sound to the forefront of the album with Ringle’s high, chilling voice, along with the large band backing him that includes a variety of strings, banjo tunes, dramatic horns, and a soft, seldom piano piece. This time around, Ringle wrangled Portland’s finest instrument virtuosos to create his very own textured version of folk music that perfectly shows off their unique moody and solemn sound.

The album opens with the subtle melody, “A Heart Arcane.” The first track establishes the tone for the rest of “Cynic’s New Year.” Throughout the album, Ringle flaunts his voice along with the peppering of instruments that clearly highlights Horse Feathers’ eclectic mix of folk and country. Not only is the band’s musical talent duly noticed, but Ringle’s lyrics flow through each song fighting between despair and hope. The Ringle jingle flourishes on “Better Company” and “Pacific Bray” with his voice pushing its own raspy limits, but making the songs come alive — even if the instrumental accompaniment was not present.

Though Ringle’s voice is what defines Horse Feathers, it still seems to be their limit. For every song, even if beautifully played and perfectly sung, the same mundane pace is kept, with no extreme shocks which is keeping them from really expanding and reaching to a wider-based audience. The lyrics are profound, the instruments are graceful, and the voice is unique, yet the band cannot transgress the confines of the folk music genre.

The album in its entirety is seamlessly played, but in a damaging way. Like their previous albums, Horse Feathers sticks to one tune, then runs with it. Each album is indistinguishable from one another because of the constant mood that is not dark enough to despair, yet still not bright enough to shine. Horse Feathers has mastered all the pieces necessary for an album, but is Ringle is so strict to sticking with their outlined genre that “Cynic’s New Year” cannot be a masterpiece on its own.