The debut from this twenty-three year-old Thrasher magazine photographer finds Freitas adding "singer-songwriter and accomplished multi-instrumentalist" to his already impressive curriculum vitae. A witty blend of Built To Spill's complicated guitar histrionics and The Beatles' indelible songwriting fingerprint, the latter epitomized by the extensive use of a vintage Rhodes organ on the majority of the tracks, Freitas's songs straddle the heartbroken dirges of James Taylor and the indie-rock anthems of Death Cab For Cutie. The Rhodes is not just Freitas's token extra-instrumental embellishment, but often stakes its claim as the primary tool within the songwriting process.

When it comes to selecting the album's centerpiece, "Normal" takes the prize, epitomizing Freitas's love-lorn lyrical approach, schizophrenic conception of pop and his everything-and-the-kitchen-sink instrumentation. Vocal harmonies throughout the album -- all handled by the multi-tracking Freitas -- further cement the fullness of his sonic designs. It does get away from him, though, particularly on tracks such as "Check The Weather", which may strike more than a few listeners as an awkward nod to Randy Newman's trademark dramatics; the scatting section towards its conclusion is borderline nauseating. Rest assured, this is the exception that proves the rule, and Freitas's missteps certainly don't surmount his leaps and bounds.

Here's Laughing At You is not merely simple bedroom balladry -- both the songwriting and the production document an intelligence and musical adventurousness that stems from Freitas's confidence and command of the "pop-song" vernacular. Precisely whom Freitas considers as influences, however, has been carefully concealed by the album's hybrid nature; one is never sure if it's an oblique Elvis Costello fascination that grips him and musical partner, Aaron Estes, or something slightly more conspicuous (insert the name of another angular indie-rock outfit or the requisite Elliot Smith comparison here). That said, the distinction between Freitas and his peers seems to be an awareness of musical moments beyond those of the immediate history that often confines up-and-coming songwriters. Good things are sure to come for Freitas if he continues to take breaks from the world of skateboarding in order to craft another collection of his thoughtful and sophisticated DIY pop.