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Beach Fossils, the project of New York's multi-instrumentalist Dustin Payseur,
penned the lo-fi pop ditties of Beach Fossils (Captured Tracks, 2009).
The obvious referent is the jangly and twangy guitar melodies of the Sixties,
but the yearning vocals of Sometimes are not exactly
from the Mamas & Papas
and there are plenty of nuances that spoil the party:
the noir pulsation of Youth seems to hint at Cure's dark-punk;
Window View harks back to the stoned elegies of the
Velvet Underground;
etc.
On the brighter side of things,
the intricate fingerpicking of Vacation seems to indicate the influence of Leo Kottke.
The album is a bit monotonous because each song relies on the same elements,
and the refrains are not catchy enough to distinguish one from the other.
A single eppended two noteworthy corollaries:
Face It / Distance (Captured Tracks, 2010) .
What A Pleasure (Captured Tracks, 2011) was another collection of
lukewarm elegies.
Beach Fossils' guitarist Zachary Smith launched his own project DIIV
with Oshin (Captured Tracks, 2012), featuring
Colby Hewitt of the Smith Westerns on drums and containing the psych-pop
ditties Geist (a whirlwind of chopped-up and reverbed vocals) and
How Long Have You Known (a crystal folk-rock guitar elegy).
Bassist John Pena's side project Heavenly Beat debuted with the
soft, tip-toeing pop muzak
of Talent (Captured Tracks, 2012). It mostly harks back to
the mellow disco-soul of the 1980s
(Complete).
Faithless is a strange mutation of bossanova.
Lust borrows from the orchestral soundtracks of the 1960s.
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