“Gunk” (3:14)
The album starts with a bass guitar noodling around and a bit of room conversation, immediately pulling you into the space with the band. Then it drops into the shouted chorus, “I GIT GUNK ON MY SHOE!”, with a distorted rhythm guitar that kicks the energy up while still keeping everything weirdly chill. Those group moments remind me a bit of Together Pangea.
The guitar solo is beautiful. The tone is powerful and high gain, which I really love. There are piano stabs tucked into the back that keep the groove moving, and I like how rhythmic ideas keep popping up across the instrumental. The fade into the guitar solo works perfectly.
It really feels like the base of this song was recorded live, with overdubs added sparingly (this is just a guess!). The production is very lively and very in your face. You can tell these are seasoned musicians – the passion shows immediately. A great opener.
Lyrically, it’s simple but effective, focusing on the small things that stay constant while the days of the week fly by. It’s very different from most “days of the week” songs, and that’s why it works.
“But Monday
Comes way too soon
Yeah and it’s too bad baby
It’s already
Wednesday afternoon…”
“We Can Call It Flowers or Sunshine” (3:12)
This track opens with a drumstick count-in and a “1, 2,” which I love – it immediately feels like you’re in the room with the band. A blaring lead guitar comes in with hammer-ons and pull-offs, paired with a lively rhythm guitar and very relaxed vocals.
The verses have a strong rhythmic punch, so when the chorus hits and the ride cymbal comes in, it carries real weight. The vocals sit tight in the mix, which makes you focus on the instrumental details. There’s a short guitar-only section before verse two that works as a perfect release.
What I really love is how the song plays with structure – introducing a pre-chorus we haven’t heard, delaying the chorus, then finally letting it land. The melodic guitar sits at the same level as the vocals, with tender falsetto harmonies in the back. The final guitar solo with two-string harmonies is such a satisfying release.
This song feels like a group effort in the best way. Honestly, it’s a masterpiece.
Lyrically, it paints a vivid picture of life and intoxication, and the delivery fits perfectly. The prescription references really stand out:
“With a dose of dafinil
She’s there on the phone
Catch the script and make the fill…”
I also love the bassy quality of the vocals – understated, but very effective.
“Nugs” (3:24)
After some band noodling and another count-in, which I think is used really well throughout the album, we get two hard-panned guitars, phased out and building melodically. The mix is slammed and lo-fi in the best way, reminding me of early Tame Impala.
The bass feels smooth and almost 60s-inspired, while the vocals act more like texture than lead. Calling this an instrumental feels right given how the vocals function. The compression and saturation fit the psychedelic rock sound perfectly.
The song title feels accurate – it genuinely makes me feel high listening to it. I can easily imagine this being massive on a festival stage. A great jam.
“Coffee” (2:50)
“Coffee” opens with hard-panned guitar chords building tension before a shouted “uhhh!!” sends the energy through the roof. The vocal delivery reminds me a lot of Crack Cloud, which I love. The wonky melodic guitars keep things buzzing, while the second guitar grounds everything.
The energy never lets up. The layered vocals, even just the rhythmic “yeahs,” are incredibly effective. When the song drops into a halftime chill section, it feels earned – and then we get the shouted spoken-word moment:
“Who wants coffee!?!? Does anyone want coffee?!?”
I can’t help but laugh every time. It’s musical comedy done right. The spoken-word section is genuinely brilliant.
Lyrically, the chaos works in its favor. Once I actually read the lyrics, it all clicked.
“Take my coffee cup away from me now
’Cause much to my surprise caffeine is getting me down
Would you believe it’s been two whole hours”
This song feels like that Futurama episode where Fry drinks 100 cups of coffee and time stops.
“Yeah I’m Dead” (4:35)
The song opens with a soft vocal count-in, then settles into a smooth ride cymbal groove with distorted guitar and gentle vocals tucked into the mix. The decision to keep the vocals sparse early on makes their later lift more effective.
The repetition and openness of the guitars are great choices here. It reminds me a bit of early King Gizzard. The bass sits perfectly with the kick drum. Toward the end, the straight quarter-note build feels subtle but powerful, and the closing guitar solo is a great touch.
Lyrically, it deals with lost time and growing up, delivered in a way that feels natural. The vocal delivery reminds me of Stu Mackenzie, especially in how imperfections are left in.
“Can anyone explain where did the last two decades go…”
“Upstate” (4:05)
Another count-in leads into an interesting mix choice – distorted guitar panned to one side, vocals to the other. It’s experimental but refreshing. The guitar tone is perfect for this song.
The rhythmic variations and fills give it a summer, beachy feel. I love the mid-song count-ins; they keep that live energy present. Hearing “that was a great take” at the end pretty much confirms this was captured live, and leaving it in makes the record feel even more special.
Standout lyric:
“Everyone looks but very few people feel”
“The Loner Door” (3:08)
This track jumps straight in with drums before thick, meaty guitar crashes in. The mix is blasted in the best way. There’s an organ buried in there that really pushes the intensity, and once everything is soaked in distortion, it’s hard to remember how chill the verses actually are.
The religious imagery in the lyrics stands out, even with their repetition, which works in the song’s favor by shifting focus to the full arrangement.
“Two Endings” (4:30)
A noise fade brings in bass and guitar before the drums enter with a Led Zeppelin-style beat. The drummer absolutely shines here – the fills and cymbal work keep everything moving.
Around the halfway point, there’s a key change and a whispered “I’m living in a haze” alongside a wobbly guitar line. The repetition pulls attention back to the instrumental, while the tremolo guitar creates a floaty, psychedelic feel. This track reminds me a bit of Psychedelic Porn Crumpets.
“Jewel Street” (4:02)
The song opens with band chatter about doing another take on a new tape, which makes me think this was recorded analog. There’s playful noodling before everything locks into rhythm. The vocal harmonies are light and clean.
The tempo shift feels comforting, paired with a much cleaner vocal delivery. Despite the layers, the song never feels overcrowded. The guitar solo is warm and saturated, and the ending switch-up is a bold choice.
“I was in love
Don’t know what changed
Calling you honey
Maybe it’s lame”
There’s something very real and nostalgic here.
“False Start” (4:16)
The album closes with a snare hit and a bass slide into a lush arrangement of harmonica, keys, drums, and bass. The harmonica sits very upfront, which initially surprised me, but it works beautifully. The contrast between the harmonica bends and the acoustic guitar rhythm is gorgeous.
This song honestly got to me. The bass licks remind me a bit of Men I Trust mixed with Simon and Garfunkel, but it’s fully its own thing. Ending the album here feels perfect – “a reflection of everything that came before it.
Overall
This album is not one to be slept on. It’s carefully crafted, beautifully glued together, and clearly built around live takes and strong musicianship. The analog feel, the sparseness of vocals at times, and the space given to instrumentals all work in its favor.
I haven’t felt this strongly about a lot of the music I’ve reviewed lately, so I’ll say it again in all caps:
THIS ALBUM IS NOT TO BE SLEPT ON.
10/10
Written by John Drifter (drifting.) (IG: @drifting.musically)
