If you’ve ‘Got A Need‘ for some experimental space rock from Florida by ‘The Bay‘ area in St. Petersburg, then look no further: Luxury Mane is to the rescue. These spacey beach bums, just south of Tampa (seemingly circa 1975) have just dropped their latest album ‘Lux Runnin Out‘: a nine track journey along some interesting and intriguing sound waves.
One gripe regarding this journey through outer space rock is the inability to understand a great portion of the lyrics. The track ‘Julian‘, for example, comes across as a ballad to man who must have mumbled an awful lot. The opening does have, for a brief moment, a clear statement that “All I see are lower echelon, mirror images of myself. And I’m so full of anger…” and the speaker goes on to say a number of things that he “don’t like”…but I’ve no idea what he doesn’t like. I do wish this wasn’t a common thread throughout the album, but there seems to be a bit of a space race between the comprehensible, and the unintelligible.
Granted, the genres afforded Luxury Mane by their promoters are as follows: Art Rock, Indie Rock, Experimental Rock, Psych Pop, Dream Pop. Now, aside from Indie Rock not actually meant to be a genre, but a simple nod to independent production, the other suggested wheelhouses are all more than capable of producing the trippy, and indecipherable work that is ‘Lux Runnin Out‘.
That being said, apparently singer Billy Summer could sing quite clearly whilst ‘Eating A Milky Way Tonight‘, which is very interesting to note. So there are indeed exceptions to the intelligible quality of the vocal mix, but it is not a frequent one, sadly. In spite of that, the melodies and harmonies are very sweet and warming. One imagines just what an effect the album could have if, in addition to the veritable vocal tones, one could fully comprehend the lyrics (even if their meaning evaded still).
Summer is also to be thanked for the rather interesting guitar licks that resonate through each track. The album really is a time trip to an alternate reality of the 1970′s; a twinge of modernity to the ethereal effects, and uncharacteristically non-bright bass from Aaron Nelson. ‘I Have A Funny Feeling‘ that the mix of the drums is a little more subdued than need be, and the muffle does seem to curtail Kyle Lovell’s efforts a bit. However, it seems pretty clear that the muffling of the tracks is an added effect to the “dream pop” quality of the band. There, again, are exceptions to this rule, as there is some drum clarity to be found throughout the album, but the muffle is indeed a prominent feature. A prominent feature for all but the high hat that is a constant of clarity the whole album through.
So if one is looking for some amazing space rock…some psych pop…maybe a bit of experimental dream pop…then do check out this transcendent little bit of trippiness. It really is good for zoning out from the world for a time. Where it takes the listener surely is dependent on the person, and how much of the lyrics they take in with the music, but musically, it’s a trip without leaving the farm.