It is few and far between when a musician is able to conjure their eclectic taste into a proper album. The rueful chords of Alexander Wren's "The Good in Goodbye" is proof that the classic twang of forgotten country can also be used as a prominent characteristic in modern indie music.

The EP (which stands for "extended player") features four tracks that display the Fort Wayne native's talent.

The album begins with the laid-back and cheerful "Morning Light", a track centered around the intimacy in a relationship. It's a perfect hook for the EP which leaves listeners immediately wanting more. "Morning Light" exhibits the sound that Wren created for himself.

"The Good in Goodbye", the headliner, introduces the country undertones of Wren's music. With a steel guitar, sorrowful lyrics, and an unrequited love, the track is a love story in its own right. Though forlorn, it seems that Wren is hopeful for "the ghost in the passenger seat" to come back: "I'm sick of playing this game of pretend - counting the days 'till you come back again."

A tribute to homesickness, "Days Like These" might make one reflect upon their own life with melancholy. Wren creates an image of his personal anguish particularly through the line, "Been praying for forgiveness as I drive down 65." The despondency of the track produces sympathy which makes the track raw and explicit - a quality all artists must have.

The EP ends with the alternate version of "Morning Light" which features Rebecca Daniel's ethereal harmony. The use of keys and strings accentuates the rapport of the song. Daniel's voice is gorgeously compatible with Wren's, creating an idyllic aura.

"The Good in Goodbye" by Alexander Wren is a perfect example of what an eccentric album should be. With a raspy and unique voice, Wren leaves us all wondering when his next album will come to light.