5つ星のうち5.0the circle comes round; good ending is equally good place to start
2018年5月12日にアメリカ合衆国でレビュー済み
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if for some reason you're curious: you want this! for starters its 75 more minutes of one of the most underrated bands of their kind, and its also ostensibly the last of its kind we will ever see. a kind of melancholy mood settles over the tracks while i listen in 2018, the death of patricia still leaving a wound in the world that will scab over but never be as it was. these are b-sides collected from various singles and other sources, but all run in a sequence that makes it seem at least to me like an LP, similar to how Work and Non Work felt. but these are deeper cuts. you have the sudden stops and subsequent angelic wails of "Where Youth and Laughter Go"; the cut-up wings of insects likened from a high hat in pop-grandeur "Locusts"; the crunchy fuzz leads of go-go atmosphere on starter "Illumination" and a piercing hal blaine psych jam gem in "Hammer Without a Master". "Small Song IV" and "Poem of Dead Song" dig into library music melody with the former being a sister song to distorted balladry like you heard with "Valerie", the other a v-c dichotomy with a chorus section that showcases Trish's reverby "oohs" almost narcotic, and a backing beat thats a real hip-shaker.
and then there is "Chord Simple", a Lewis Carroll dream state of hypnosis, living up to its name with a piano melody that is as simple as it is nostalgic and affecting. two versions are heard here, the second bookending "Unchanging Window" (from where it borrows its oneiric riff) here heard in a version even more amazing than their LP! the way it builds and builds on its four notes shared between two songs is unlike anything i've ever heard from a psych revival act, a true how-did-they-do-this moment, it forever cements their status as king of surreal 60s revivalist pop madness, their absence from this world of tepid byrds copycats growing bigger every year. Oh I miss her so.
this could be an introduction to the band just as any lp could, the quality control and precise vision of their style as reverent as it is unchallenged by their peers. the songs, the heavenly spring reverb, trish's voice being at possibly a career best around these times, and an biting nerve on the back half of this release make this just as mandatory as any of the many radiophonic psych pop slabs that inspired them. she wasn't some temple follower, but Oracle itself.