The beauty of our present mania for reverb-drenched nostalgia pop—call it surf, dream, garage, whatever—is that the retro sound is beginning to feel contemporary. We have recalled earlier forms for so long that we associate recollection with now. Theoretically, there is a midpoint among The Ventures, Galaxie 500 and Beach House where the listener becomes unstuck in time and experiences all moments of reverb pop simultaneously. That point may be Lures.
- Andrew Imanaka
Lures’ low-key rhythm section is built on familiar drum patterns and guitar work that evoke, if not the beach per se, at least a movie about the beach. This effect is sometimes self-conscious, as on “Vacant,” whose opening instrumental verse sounds like a missing Dick Dale track. Other songs, like “Closer,” are more restrained, mentioning surf rather than demanding it. The vocals, flat in both senses of the word, magnify the ironic distance. This is music about music, evoking not so much a feeling as the memory of feeling that way. Fortunately, the pop is strong. Robust songwriting keeps the Seattle band from being merely an exercise and raises it to something more nuanced and melancholy, like watching someone else ride a skateboard down memory lane.
Lures plays the ZACC Sat., July 12, with Globelamp, Sun Blood Stories, Neighbors and more. $7 for the Saturday ZACC showcase, $20 for the three-day Camp Daze wristband. Show starts at 3 PM. Visit campdazemusic.com.