Beachwood Sparks' first album since 2012 has a more up-to-date indie-pop sensibility, told through Laurel Canyon beats and jamming guitars.
The California alt-country band's first album since 2012 has a more up-to-date indie-pop sensibility, told through kaleidoscopic, Laurel Canyon beats and jamming guitars.Beachwood Sparks are good at reunions, but continuity is an issue. The Los Angeles-based country-rockers are back after a 12-year hiatus, which followed a four-year break, which came after a five- or six-year break. All told, since forming in 1997, the band has spent more time apart than together.
That has consistently been the band’s aesthetic, something that hasn’t changed by bringing Black Crowes frontman Chris Robinson on board to produce. Beachwood Sparks’ cosmic Americana leanings are in full effect right from the start, as they roll through a fast shuffle that blends saloon piano, bright, trebly guitar licks and tight, wordless vocals on opener “My Love, My Love.
Beachwood Sparks excel at evoking that time period—sometimes to a fault—largely thanks to the seemingly effortless way Gunst, Rademaker and Scher combine their voices. Yet just when they’re on the verge of sounding like Laurel Canyon cosplayers, the band shows a capacity to go a different direction.
It’s worth wondering what direction Beachwood Sparks’ music might have gone in if the band had remained the musicians’ main focus over the past quarter-century, or if they had worked together with more regularity. That said, they’re good at what they do, and the long intervals between albums makes it easy to welcome them back.September 6, 2023 | 11:48amJuly 16, 2024 | 1:15pm
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