Starlite Walker (Drag City, 1994)
Following two lo-fi EPs that seemingly anticipated Pavement’s future sound more than Silver Jews, the debut LP introduces Berman’s solemn, languid drawl and askance lyrical narrative. Subdued and reflective, “Trains Across the Sea” wanders lazily while Malkmus’ backing vocals and guitar add an anxiety and urgency to “Advice to the Graduate” and “New Orleans.” 
The Natural Bridge (1996)
With a new backing band, The Natural Bridge mixes Berman’s vocals more to the fore, highlighting the drift into darker lyrical terrain on songs such as “How to Rent a Room,” “Pet Politics,” and country lilt of “Inside the Golden Days of Missing You.” Berman’s wry humor also emerges in “Dallas” and the sputtering, almost-absurdist rhymes of “The Frontier Index.” 
American Water (1998)
Featuring some of Berman’s best songs, including “Random Rules” and “Smith & Jones Forever,” American Water is more forceful but also more detached. The guitar squall of “Night Society” and bluesy moan of “Federal Dust” push against the easy roll and wit of “Send in the Clouds” and “Honk If You’re Lonely.”
Bright Flight (2001)
“Slow Education,” “I Remember Me,” and “Horseleg Swastikas” are some of Berman’s most dire songs, even with the soft harmonies of future wife Cassie. “Let’s Not and Say We Did” unloads a raucous piano rag, but even lighter moments such as “Friday Night Fever” and “Tennessee” are cut with a forlorn, searching edge.
Tanglewood Numbers (2005)
Berman’s return packs a powerful punch behind cleaner guitars, harder percussion, and direct vocals. Opening trifecta “Punks in the Beerlight,” “Sometimes a Pony Gets Depressed,” and “K-Hole” is biting and personal, offset by the more playful “I’m Getting Back Into Getting Back Into You” and “How Can I Love You If You Won’t Lie Down,” while “There Is a Place” closes with a defiant affirmation of starting over.
This article appears in September 19 • 2008.