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I just write in a different style for the two different instruments. So you know when a song is something for a La Luz record or Shana Cleveland record depending on what guitar you write it on, essentially? Yes those two count – I’ll see you on the other side. And I’ve been dying to use eidolic and wan in their proper context. We should consider this record a failure if no such lexical markups were made upon review. In fact, cozy up to that vocabulary: ghostly, eerie, illusory, eidolic, wan, phantasmagorical, super- and preternatural all fix to make some haunting impression upon the wax. So let’s play a drinking game: every time I use any wraithlike synonym to describe this album, we drink. All of this occurs over a soft, yet solid percussion and all of this subsists under the band’s trademark spectral harmonies. “In The Country” does little to persuade otherwise – that is to say, it need not do anything other than what it does: play with reverberating progression, stack it with distant claps and then fill it with equally echosome triplets and coy synthesizer periphery. With ghostly vocal confluences haunting a beach-side manse built with both rhythm and flourish, melancholy comes at every shake of the hip. But who can blame them? No matter the record, La Luz has won fast fans and even more widespread indie-cred as the woozy sunny afternoon hitmakers of our time. Unlike Habibi’s release irregularity, however, the output of La Luz borders on metronomic, only losing a year due to extreme circumstance.
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Contemporaries and influences out of time as diverse as the Kinks, the Gossett sisters and Takeshi Terauchi fill out the emotional palette of the band. But where Jamalifard and Lynch inform their music with Brill Building sounds, Iranian rock and New York post-punk funk, La Luz spin a yarn attached to the ball of musical nerves in England, Los Angeles and Japan. The closest sonic contemporary within the sphere of Shana Cleveland and company, however, is Habibi, sharing a common appreciation for early Motown. Nick Waterhouse also associates with this list rather well, producing the Allah-Las’ debut. From the overt LA Witch to the subdued Frankie and the Witch Fingers the list consists of a host of modernity: levitation room, The Shives, Holy Wave, Shannon and the Clams, Mystic Braves, Chastity Belt, Beach House, the Growlers and the Allah-Las. This list is long, with varying degrees of garage and other influences. Their girl-group vocals meet warped Link Wray riff is, at this point, an institution among the surf rock renaissance artists. I suppose by now it was inevitable the band would try on a self-titled record their sound just is – existing despite routine change in producers, despite band subtractions and additions and despite any superlative effort to encapsulate it – La Luz just are. A self-titled album might be an inevitable occasion for any band, but for Seattle’s La Luz, it was an opportunity to hone their sound and expand their influences.