David Pajo's 2003 and 2004 singles series (released under his Papa M moniker) blended improvisation with frailty. They explored songwriting as a way of personal confrontation -- in other words, things like Two and Five seemed like they were supposed to be closed off, like the listener was peering into Pajo's self-therapy session. There were flashes of grace, a sort-of folk, even whimsy.
David Pajo is no stranger to the tactfully understated. He seems to shun the spotlight when working with confrontational and flashy artists like Slint or Zwan (heh, Zwan) just as much as with intrinsically subtle ones like Tortoise and Will Oldham. Even on a handful of generally lovely solo releases as Papa M – or Aerial M, or Thirteenth Letter, or simply M – he shrouds himself in some degree of willful obscurity.