Deer Tick’s singer-songwriter John McCauley is obsessed with the regular young-man stuff—drinking, fighting, fucking, puking, sleeping, usually in that order—but on Divine Providence, it all comes out sounding like love songs. The object of McCauley’s affection is The Replacements; specifically, Paul Westerberg’s patented sensitive-asshole routine. “We’re full-grown men, but we act like kids,” McCauley bellows on “The Bump,” over a piss-drunk blues stomp that apes the spontaneous cacophony of Hootenanny’s infamous opening track. While the spirit is there, the sentiment is a little on the nose; at its weakest, like on the one-note punk-rock drinking song “Let’s All Go To The Bar,” Divine Providence does a little too much telling and not enough showing.