The Historical Conquests of Josh Ritter catches the Idaho musician in the midst of a radical transformation. While last year's The Animal Years had Ritter thinking about the state of the nation, his latest offering finds him pining for Joan of Arc, Calamity Jane and Florence Nightingale, all of whom seem to be stuck together in the belly of a whale, a la Jonah. He also manages to squeeze in a few admiring words about ladies¹ underwear‹and that¹s well before Ritter, backed by drums, bass and organ and cacophony, arrives at a rollicking chorus you might be able sing along with if you¹re quick enough to get all the words.

Ritter is clearly having fun‹and you will, too‹but there is a method to his madness. Those legendary heroines he name-checks were each responding to an inner voice that pushed them toward some extraordinary mission, one both noble and a little foolhardy. "Those voices can be pretty confusing," he says, "but there is no doubt that if you follow your two a.m. voices you¹ll end up someplace fairly extraordinary."

And Ritter did follow those late night voices. While The Animal Years was a meticulously crafted and stately paean, for Conquests the artist radically revamped his working methods and his sound. "I needed to be somebody different," the singer says. "The air of gravitas around me was getting oppressive. For some reason it seemed like there was a premium being placed on earnestness and that can be pretty stifling. There was a lot of talk about true love and righteous indignation. I wanted to write about gunslingers and missile silos."

But it didn¹t start like that. "I was tired of writing with the guitar," says Ritter, who began writing The Historical Conquests by committing to tape wordless tunes and melodic fragments, certain that the lyrics and thematic ideas, whatever shape they might take, would soon follow. Setting aside the guitar, he began writing on an upright piano some family friends had given him‹an instrument, he admits, he didn¹t actually know how to play.

The result is an often raucous, occasionally dizzying affair, with pounding keyboards, strings, horns, and his new producer and long-time collaborator Sam Kassirer, leading the charge. About the recording conditions in the Maine farmhouse where the record was made, Ritter enthuses, "You should have seen it up there. It was January and twenty below. We had horns in the attic, we had strings in the barn, we had a gaggle of people shooting targets with bb guns in the woods. It was a full house and everyone was there to throw themselves at the music. There was no holding back."