Wryly Expert, Wildly Catchy Retro 60s Psychedelia From Lucille Furs

by delarue

Lucille Furs is not an obscure French actress, nor a store on West 30th Street in Manhattan selling unfashionable outerwear made from dead animals. Lucille Furs are a spot-on retro 60s psychedelic band with more of a Beatles influence than most. Their album Another Land is streaming at Bandcamp.

Unsurprisingly, the first instrument you hear in the title track, which opens the album, is Patrick Tsotsos’ slithery, trebly bass, playing a shivery, McCartneyesque, Come Together-ish riff.  Brendan Peleo-Lazar’s drums straighten the rhythm out, the spare, catchy minor-key reverb guitars of frontman Trevor Pritchett and Nick Dehmlow kick in along with Constantine Hastalis’ starry keys, and suddenly it’s 1967 again: the band really nail those vintage sonics. Here as elsewhere, the songs’ lyrics are gnomic and fantastical; it’s seldom clear what they’re about beyond a life of the mind, all synapses running at peak voltage.

With its trippy narrative and elegantly vaudevillian piano, Leave It As You Found It has a Penny Lane feel. First Do No Harm pulses along with that soaring, melismatic bass, awash in gorgeous layers of jangling, chiming twelve-string guitar and keening Farfisa. Paint Euphrosyne Blue could be one of the bluesier, vampier numbers from the White Album, at least until that noisy breakdown and wry early 70s-style twin guitar solo.

Sooner Than Later has a sparsely jangling, brooding 60s British psych-folk tune and a mellotron (or a good digital facsimile) back in the mix. The band build All Flowers Before Her around a familiar, insistent Link Wray riff, jaggedly reverbtoned textures panning the speakers. They straighten out of a hovering organ intro in Eventually. “You are back in that place where you smoke, in your room, and not once or twice…we’re glad to have you back!” Pritchett announces.

In Madredexilliados, the group blend tropical bursts from the keys, a clanging Secret Agent Man guitar riff and hints of surf from the drums. Sparkling with that twelve-string guitar, the album’s funniest and arguably most anthemic song is Karaoke Trials, something you definitely want to be saved from!

Opening with a Beatlesque descending progression and continuing with deliciously icy analog chorus-box guitar, it’s not clear what Pritchett misses most about The 34th Floor: the girl there, or the party. After that, the band revisit an uneasily steady Laurel Canyon jangle and more of those looming bass hammer-ons with Transmitting From the Blind Guard.

The album’s most expansive track, Almond Bees is the missing link between Abbey Road Beatles and the Byrds. The twelve-strings ring more brightly than anywhere else here on the final cut, No Word in English, a catchy country song at heart. If you’re a fan of nouveau psychedelic bands from the Jigsaw Seen, to the Chemistry Set and the Allah-Las, set the controls for the heart of this album..