On White Moth, Xavier Rudd's fourth studio album, he feels freshly and wholly morphed as a solid, smart talent, making unique music that’s difficult to categorize. He's a multi-instrumentalist (bass, lap steel guitar, banjo, harmonica, didgeridoo, various percussion instruments, stompbox, etc.) whose musical creations are driven by his world view steeped in concepts of personal awareness and responsibility as they relate both to the planet and our neighbor next door. His musical instincts and appreciation for old-fashioned hard rock licks, subtle blues flavors, and barbed reggae rhythms add a fired-up feel to the mix so you almost think he’s just having a good time. “Better People” is a light-hearted nod to well meaning people, and has the lilting, feel-good essence of classic Paul Simon. Rollicking tracks “Stargaze” and “Footprint” hint at more of a rock’n’roll sound on the artist’s horizon, and “Come Let Go” has the same mournful feel as Marley’s “No Woman No Cry.” The somber and beautiful “Land Rights,” the delicate flutterings of “Anni Kookoo,” and the sun-drenched didgeridoodling on “Message Stick” have distinctly different sounds, yet somehow evoke the same visceral response in the listener. This is a contemplative set of music driven by a vigorous, pulsating heart.