Calexico is one of the most interesting bands that I had ever overlooked until 2004. For me, it was their collaboration with Iron and Wine’s Sam Beam that put the Tucson collective’s talents squarely on the popular indie map. Though they appeared out of nowhere and were sometimes boxed in as a mere “backing band,” it is now clear that their performance appeal goes as deep as their musical ambitions.

Calexico is far from and yet near its humble origins in Tucson, Arizona. Joey Burns and John Convertino formed their duo and moved there in 1994 after playing together in Howard Gelb’s Giant Sand. In Tucson they continued their session playing, learned new instruments, and experimented tirelessly. Recording the album Spoke with their new instrumental arsenal in 1996, the group struck out into their own space as a band. They followed up with the critically acclaimed The Black Light. Then as now, they have remained committed to experimentation with mariachi, Latin jazz, rock, and even plain sound, both confusing and engaging critics and listeners.

At this point came In the Reins, a collaboration that had Calexico looking romantic, folky, and most importantly, accessible. Positive crowd feedback to straightforward songs like “Crystal Frontier” and “All Systems Red,” exposure to a new role in the musical schema alongside Wilco and Iron & Wine, and various projects within the collective changed Calexico drastically. The experimental album sold on tour last fall was a far cry from their accompanying performance, a shift reflected on Garden Ruin, their new album. On their fifth album, Calexico explores and refreshes pop and rock elements that many bands have worn out by their second. The best addition is Burns’ long dormant voice, which is steady, resonant, and often beautiful; this newfound aspiration seems to be inspired by singing alongside Sam Beam.