The histories of RSTB and Sore Eros are fairly intwined. A long running fixture on the site, the band also graced the first show ever booked under the banner of RSTB at Northside festival a million years back. So, its only fitting that as the band releases their swan song it should wind up here. Robert Robinson has been holding the spark, but the band drifted to different coasts and doesn’t find themselves working live so much any more. Enter engineer/producer (and the force behind The War On Drugs) Adam Granduciel, who was able to coax the band’s distant members back into the studio for a fitting sunset on the band. The band simmers in a brand of soft-focus psych — part folk’s whisper, part hypnogogic shimmer, and here, part sun-kissed West Coast foam rolling back out to sea. The low-light linger adds a nice touch to sound and gives the whole record a relaxed nature that reverberates calm and coolness.
The record orbits around the ten-minute plus roil of “Ocean Tow,” an unusually extensive cut from a band who usually keeps things in the pop song range. The stretch works and they slide down the movement chute as the track folds and unfolds itself in billowing layers . Floating around the centerpiece, the band pings through the echoplex quasars, feeling out the foam with a bittersweet bent. Though this may be their last, the record makes a strong statement of purpose for Sore Eros. They were never at the forefront, but for those that dug into their tender psychedelic heart, it was a welcome journey.
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