Peaking Lights previous, and debut, full length, 936, was a bit of surprise splash here at theoffice. Arriving straight from the summer sun, it offered up the necessary big bass lines, grittylo-fi production, and wanderlust charm that we needed to survive heatwaves. Where thatrecord did a bit of a tightrope walk, though, was in its seemingly split personalities. It was arecord culling heavily from dub music, filtered through a clear education in krautrock (Neu!,Kraftwerk), all while throughout trying to appeal to todays scene of, whats everyone calling it,chillwave? Those are quick associations, but the record undeniably hit on a multitude of styles,ultimately making it highly intriguing to see what would come next. Lucifer, the followup, takesall the right steps. While there is an obvious upgrade in its polished production, the charm of936s sun soaked melodies is retained, and furthermore, refined. Singer Indra Dunis softly guidesboundless interplays between organs, drum machines, and husband Aaron Coyes modularsynths (allegedly assembled from second-hand, thrift store electronics). Thick layers of reverband echo accompany an almost call-and-response between treble and bass ranges. It bringsto mind some scenario in which a band like Broadcast or Stereolab meets Lee Perry or KingTubby, and the two wind up having a baby. Furthermore, the husband/wife duo of Dunis andCoyes explain the album as an ode to and story of their own newborn, that it is about exploringthe world as a newborn would. Lucifer is the product of its parents, Peaking Lights previouswork, a sturdy base of influence, but all the while treads very exciting (relaxing might be moreappropriate, excitingly relaxing) newness. Highlights including Beautiful Son, CosmicTides, and LO HI. Also Includes a super cool flexi-disc with “Beautiful Son.”
- music label: Mexican Summer 2012
