Using little more than guitars, keyboards, and scant drums, Honky Tonk Medusa is a slow bloomer. It demands repeated listens until its essence hovers like a cloud, even when the music stops. Whether Quinn is wading through a foggy Golden Gate Park haze where the sun begs to burst through ("My Wife," "We Called Her Slow Snow") or leading us on a seven-minute cerebral excavation that starts darkly distorted and ends with crystalline guitar picking ("Night Shift"), his vintage touchstones are varied and deeply flavored. "Laughing City" veers toward psych-pop, with a vaporous yet rhythmically sturdy bed of piano and circling, echoing guitars. While it’s a place of warmth and comfort, the quietly foreboding "Love in an Evil World" thrums with a lovely Velvet Underground mystique. Donovan does sound a bit like his ‘60s namesake. His genteel, earnest articulations paired with the downy pedal steel guitars of "Shadow on the Stone" make a beguiling and wonderful sound.