In the waning years of Shudder to Think's decade-or-so-long career, the band dropped the Dischord post-punk vibe and picked up score work for films like Velvet Goldmine and High Art. When Shudder fizzled for good, Wedren kept at it, scoring films with Lou Barlow on Laurel Canyon and Mike White on School Of Rock. Lapland does sound very cinematic and textural, with both close-up and expansive moments, as if he's using the zoom button on his songwriting. You can tell he's become accustomed to writing visually: the melodies strive for simplicity, accentuating Wedren's intimate lyrics, then flourish at the right moments to create a different mood. If this is his first solo record, let's hope for a sequel.