Given his longtime involvement in Eleventh Dream Day and Tortoise, not to mention his numerous other studio-bound efforts, it's surprising that bassist Doug McCombs has time for a solo project. Granted, McCombs' initial recordings as Brokeback were as simple as his spare live setup: drifting, echoing bass tones sent through an array of delay pedals and effects. Despite the occasional involvement of fellow bassists Noel Kupersmith and Josh Abrams, Brokeback came across as a modest band of one, consigned, for the most part, to the background. Unlike Field Recordings From The Cook County Water Table, the new Morse Code In The Modern Age: Across The Americas splits the credit between McCombs and the co-billed Kupersmith, but more importantly, it seems to aim for more than its predecessor. Recorded in Chicago, Tucson, and New York, the disc draws talent from all three cities, including Two Dollar Guitar's Tim Foljahn, esteemed underground guitarist Alan Licht, Yo La Tengo's James McNew, and Calexico's reliable duo of John Convertino and Joey Burns. Essentially a three-part suite, Morse Code takes time to get where it's going, but the voyage is worthwhile. McCombs sticks primarily to his guitar-like six-string bass, his percussive tone and ringing arpeggios (the Slint-esque mark of post-rock) surprisingly recognizable from his other endeavors, as well as from the many Ennio Morricone soundtracks that clearly influenced his work. McNew's warbly, droning organ introduces the nearly 20-minute space-jazz track "Lives Of The Rhythm Experts" before the song shifts into stranger sonic territory (no doubt encouraged in the mixing and editing stage, when Tortoise's John McEntire was brought in to assist). Kupersmith's double-bass anchors "Flat Handed And On The Wing" to terra firma, though the track is still mostly texture until Jon Birdsong's expressive cornet cuts in. Best may be the Bolero-like territory of "Running Scared," if only because the Burns/Convertino team rarely falters, and Stereolab singer Mary Hansen lends the short track an impressively cinematic quality. Though Brokeback never quite rises above background-level, McCombs, Kupersmith, and company offer only the most evocative wallpaper.