My tweet sets up the fundamentals. I should have more to say about all three records. I need to add now that I reacted much more negatively to Tame Impala (couldn’t get past the soothe and there’s too damn many CDs around here, anyway) and the initial Car Seat Headrest (though I thought the krazee cover art was, uh, dead on). Problem was, it came with these pant-pant assertions that “wowie zowie this is the record of the future, a genius from the bedroom and this is what tomorrow’s music will sound like” (very rough extrapolation from my impressions that got me to pay real money for the disc). I thought it sounded like hell and was a kind of Guided-by-Voices BS where you proved you were a real fan by letting Robert Pollard play the proverbial tennis without a net.
This new one backs up my assertion since John Cale produced the Modern Lovers — you need real players, a real producer, a real studio. Especially if yer a NURD. Who’s a genius today, anyway.