Chris Pureka’s sophomore release, Dryland plays like the way she enters a room—with low, deliberate airs, quietly demanding respect. One stark, solo acoustic guitar builds into layered swan songs and raspy serenades that resonate with unassuming depth and candor. Dryland is the highly-anticipated follow-up to Pureka’s 2004 debut, Driving North, for which the rising newcomer has landed praise from publications like Performing Songwriter, Time Out New York, Nashville City Paper and many others. Comparisons flow easily: some recognize the poetry and grit of a young Bruce Springsteen or a troubled Ryan Adams. Others see Nashville shining on the horizon for this indie-acoustic songstress whose simple, yet heartfelt and vulnerable delivery often resembles shades of female greats like Patty Griffin, Gillian Welch or Mary Gauthier. Whatever the reference point, one thing remains certain: on her newest release, Chris Pureka has taken the unfettered, heart-on-your-sleeve approach she is known for and has delved even deeper into her calling to deliver a newly promising and original collection of songs. The progression is natural, if not subtle; and the results are impressive. Pureka proudly considers Dryland an older, wiser successor to her earlier recordings. She writes, “There are many songs on the record that follow up with the themes of love and relationships that were predominant on Driving North. For instance the song, ‘Come Back Home’ is about a long distance relationship a