Saturday Looks Good To Me

The divide between the band's affected 90s lo-fi feel and genuine 60s recording fidelity is a delicate one, and pushing too far to either side damages the band's inspired but fragile aesthetic. Summer Songs achieved this balance nearly flawlessly, but Every Night occasionally loses its footing. A few largely acoustic tracks (particularly the heavy and oddly polished "Dialtone" and "We Can't Work It Out") fail to adequately veil Thomas' narcissistic pretense as a lyricist. Where the pop-mysticism of "If You Ask"'s psych-lite production effectively hides the song's weighty lyrical undercurrent, the relatively hi-fi demo quality of "Dialtone" brings Thomas' brooding relationship with an ex-love to the forefront of the song, relegating the blithe piano and tambourine arrangement to mere set dressing. The resulting song feels overproduced and too distinctly current, and temporarily hinders the album's retro charm.
Many songs, however, achieve the same heights of Summer Songs; the reverb-drenched, Spector string-heavy "Until the World Stops Spinning", Nuggets outtake "Keep Walking", and effervescent sunshine vibe of penultimate "Lift Me Up" are frozen in an ambiguous moment that reasonably could have been culled from any point in time between 1960-1967, with just enough contemporary lyrical context and modern vocal affectation to connect the band's musical conceits to more current influences.
If the band's established sound wasn't such a direct homage, replication of a former release might be considered a major fault. However, SLGTM construct their songs from such a deceptively diverse palette that their reserve of material, though all vaguely familiar, is potentially endless. Their scope may be limited, but their wealth of source material is as broad as the subconscious vinyl fantasies of their audience.

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