Ray Raposa of Castanets had almost finished his follow-up to First Light's Freeze (2005) when three men in strange masks mugged him at gunpoint in front of his home in Bedstuy, Brooklyn. Stealing Raposa's rent money, iPod and security, the three thieves climaxed a year of depression and nomadic, nocturnal dislocation. Not long after the mugging, Raposa completed In The Vines. Appropriately, the album he was struggling to complete is based on a Hindu fable about being trapped in an inescapable fate, with death and the limitations of our physical lives closing in from all corners. In the fable story, “The Well of Life”, a giant net stretched outby a giant woman surrounds a Brahman lost in the forest. The frantic Brahman runs in circles attempting to escape until he falls halfway down a pit and is entangled in vines. He discovers some beehives halfway between the flesh-hungry six-faced elephant at the top of the pit and the waiting serpent at the bottom.
As bees buzz around the Brahman and rats gnaw at the vines holding him up, all he can do is gorge on the sweet honey. Heavy stuff, yes, but it isn't all peril, and darkness. The songs are sung with such intimacy and earnestness that In The Vines "sways" somewhere
between the serpent, elephant, bees and rats, the honey representing a strange sense of hope and delight in the brief moments of beauty that sustain our lives.

Trzeci album Castanets zrealizowany dla Asthmatic Kitty i wydany w 2007 r. Główną postacią i właściwie jedynym stałym członkiem zespołu jest Ray Raposa, którego tym razem wspomogli tacy artyści jak: Jana Hunter, Sufjan Stevens, Viking Moses, Matthew Houck of Phosphorescent, Rafter Roberts, Nonhorse (Vanishing Voice), Nathan Delffs (Shaky Hands), Annie Clark (St. Vincent) i Rob Lowe (Lichens).

Ray Raposa of Castanets had almost finished his follow-up to First Light's Freeze (2005) when three men in strange masks mugged him at gunpoint in front of his home in Bedstuy, Brooklyn. Stealing Raposa's rent money, iPod and security, the three thieves climaxed a year of depression and nomadic, nocturnal dislocation. Not long after the mugging, Raposa completed In The Vines. Appropriately, the album he was struggling to complete is based on a Hindu fable about being trapped in an inescapable fate, with death and the limitations of our physical lives closing in from all corners. In the fable story, “The Well of Life”, a giant net stretched outby a giant woman surrounds a Brahman lost in the forest. The frantic Brahman runs in circles attempting to escape until he falls halfway down a pit and is entangled in vines. He discovers some beehives halfway between the flesh-hungry six-faced elephant at the top of the pit and the waiting serpent at the bottom.
As bees buzz around the Brahman and rats gnaw at the vines holding him up, all he can do is gorge on the sweet honey. Heavy stuff, yes, but it isn't all peril, and darkness. The songs are sung with such intimacy and earnestness that In The Vines "sways" somewhere
between the serpent, elephant, bees and rats, the honey representing a strange sense of hope and delight in the brief moments of beauty that sustain our lives.