A trio of exploratory noise instrumentals could turn off some listeners to the album as a whole, not because they're unaccomplished, but because they lack much sonic similarity to the rest of the songs. Here, on "I Just Want to See You Underwater," and on the second half of the playful closer "Everything's Big," Temple's voice and the music's fuzzy, spooky pop attack recall his overseas peer Stephen Jones (aka Baby Bird, who began his career with a handful of similarly quirky, touching, lo-fi albums brimming with melody and mystery. Temple definitely knows how to milk the most from his lo-fi setup, blending trance-inducting layers of chiming guitars with his falsetto on "Tunnelvision" into a mesmerizing Wall of Sound. Either way, it's an engrossing start to the album. It's hard to say if the song would sound better with fuller production or if it would lose too much of its bohemian heart.
"Fangela" goes even further into Simon land it could easily be mistaken for a Shins demo or a Simon & Garfunkel song, if not for the cheap but charming keyboard sounds. "Only Pieces" seems like the lost campfire connection between Simon's African excursions and Animal Collective before they went Technicolor. There's an obvious and immediate nod to the tribal folk pop of Paul Simon with the two opening numbers. The strongest thread holding the album together is the bargain basement production textures that virtually paint a picture of an in-home recording studio with a four-track in one corner and some vintage mikes in another. He's merely expanded his horizons, taking on a couple different and somewhat incongruous genres, from Afro-beat pop to freak folk to outright noise collages. Though he mostly ditches the witty delivery and freak-lounge falsetto, there's no mistaking the bedroom recording quality and everything but the kitchen sink, stream of conscious composition. Quirky singer/songwriter Luke Temple's first release under the Here We Go Magic byline is just as indie-centric as his previous efforts.
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