San Francisco’s The Fresh and Onlys are known for putting out psyche-drenched garage rock at a phenomenal rate. Long Slow Dance is their fourth LP in as many years and is being championed by the band as a record that they “completely believe in”.
It’s a record that bashes genres together, of driving rhythms, big synths, jangly and swirling guitars, and little surprises, all complimented by front man Tim Cohen’s baritone vocals. When we say little surprises, we mean a lot of little surprises, little details that give the songs their originality. With every re-listen of the album you notice something different that you didn’t catch the last time round like the high pitched electric-jug-esque bleeping, that lies behind fifth track, Fire Alarm. With every listen, each song takes on another dimension and latches on to another part of your brain, making you want to listen to the record again.
You can definitely feel the confidence that the band have for the record in the songs. There isn’t a weak link in the album and all the songs stand up on their own. Euphoria makes you want to jump on a horse and go riding into the desert, chasing after something. And when you realise you don’t have anything to chase after so you sit back and listen to the melancholic, horn adorned afternoon-in the desert melodies of Executioner’s Song. Album highlights are No Regard, a boppy and defiant tune about love that slows and then picks up again and again, and Presence of Mind, a track that should be dropping on any 2012 mixtapes – yeah it’s that good.
There is enough haze and psychedelia in the songs to suggest that the initials of the album’s title are no coincidence. Indeed, the album is definitely meant to be listened to as a whole body of work – like one big trip. The record is a strong statement by The Onlys and we think that they definitely are justified in being so proud of this one.