’60s psychedelia with hints of shoegaze

Since the mid-’90s, The Brian Jonestown Massacre has been honing a sound that blends ’60s nostalgia with the ethereal, reverb-drenched styles of shoegaze. On their latest release—which is self-titled, and provides an apt representation of the band’s overall approach to music—they seem to have their sound down to a science. Songwriter, vocalist and multi-instrumentalist Anton Newcombe is the mastermind behind the band, and on The Brian Jonestown Massacre (released through Newcombe’s own record label), he delivers more of the twanging, slightly distorted guitar and haggard vocals that the band’s reputation is built upon.

The album opens with “Drained,” which—disregarding the flourishes created by various effects—could be a tune from The Byrds’ country rock era. Proceeding from the upbeat opener to the more subdued “Tombes Oubilées” (which features guest vocals from Rike Bienert, who has collaborated with Newcombe frequently in the past), the album moves deeper into psychedelic rock territory; the breathy vocals and intricately jumbled guitar parts create an immersive atmosphere that might cause the listener to feel adrift in the melodic confusion.

On “My Mind Is Filled with Stuff,” Newcombe turns up both the reverb and the psychedelia for a dizzying instrumental that, in three and a half minutes, creates a luxurious soundscape which perfectly balances each of its elements. The gracefully winding lead melodies are effortlessly in sync with the percussion and hazy backing guitars on this track, making it the highlight of the entire album.

Unfortunately, The Brian Jonestown Massacre opens with three of its best tracks, and though the remainder is very listenable, it is a bit disappointing. “My Mind Is Filled with Stuff” marks the peak of the psychedelic element; the later tracks pursue a style that tends further toward garage rock. The sixth track, “We Never Had a Chance,” is notable for containing some of the album’s best lyrics, which isn’t actually saying much—wit and emotional resonance are in short supply in Newcombe’s writing, though he compensates in part with his expressive vocals, which sound simultaneously weary and serene. There is some inspired content in the closer, “What Can I Say,” though the song lacks focus and may meander too much for some listeners’ tastes.

The Brian Jonestown Massacre offers more of the band’s trademark guitar tapestries, as they continue to re-imagine ’60s music in the image of ’90s shoegaze. With consistently pleasant, infectious melodies and a few truly outstanding moments, the album is a welcome contribution to the predominately barren landscape of modern revivalist rock music.