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With close harmonies, tapped rhythms, and a wistful tone, this is music for a sunset porch, or a long drive, or a morning walk, or any situation where a soundtrack gently reminding you that everything is all right with the world is appropriate.
The new mixes are nice and clean, but the real treasure here is the extra material, alternate takes and mixes and even some jams, that provides an intimate snapshot into the creative maelstrom that was this explosively inventive foursome.
On background listening, it’s a charming bedroom pop masterpiece filled with enticing musical details and catchy melodies. If you pay attention though, you’ll notice the lyrics transcend sarcasm and irony and go straight to sardonic, a rare treat.
Ty’s arsenal of instrumentation continues to grow, as he fills out his domain of prog-rock, stoner drones, glam trash, and other Seventies detritus with keyboards, more keyboards, and an evolving sense of studio wizardry.
The cover album is trite and cliché by now, but when the kings of Los Angeles release a tribute to the music scene that made them who they are, it’s definitely worth a listen, as both a rock show and a history lesson on what made LA sound that way.
The best dub music happens when the flow and repetition, the interlocking arrangements, and the roots-heavy vocals all work together to make the time dimension an immeasurable elastic abstraction.
It’s dense and it feels implacable, yet at the same time it’s sweet and comforting, like a punked-out beach blanket bingo, with cascading fuzz pedals and the feeling that the next wave is going to crest even higher.
This aggregation of aggressive sounds does not differentiate between rock and electro, juicing thick synth leads with military drumming and a lyrical delivery that wavers delicately between completely disaffected and about to punch your lights out.