The Molochs

Quintessentially Californian – breezy, but flecked with garage gristle, soft baked twang, and a touch of sunshine strum – The Molochs burst out with their debut, America’s Velvet Glory, last year. It was a record that picked at the bones of a dozen personal favorites, but it seemed like the template for something better. That it was, and the band issues Flowers in the Spring as the smoother sipping, buttered-soul culmination of that they were going for on that debut. The record embraces the pop proper in garage pop, turning their latent VU impulses towards lusher waters. While wrapping up their ‘60s jangles in a touch of country sparkle they’re finding the dividing line between Nikki Sudden, ‘70s Flying Burrito Bros and the sorely missed strains of the Strange Boys.

Lucas Fitzsimons attempts a swipe at swagger that tries hard to cover up the vulnerabilities in his voice, but that bluff is all part of the charm. He’s full of bluster one minute, but journaling about it later with a wash of heat in his cheeks for his transgressions. Some of the best moments on Flowers are couched in the tender resolve – “And She’s Sleeping Now,” “A Little Glimpse of Death,” “Too Lost in Love” – here the band doesn’t worry about rock clichés and spends some time working on the minor details that make pop shine.

Skirting wide on the idea of a sophomore slump, The Molochs are, it would seem, just getting started here. This record has found its footing and ditched the confines of American Garage that dogged their debut. In indulging their pop sweet tooth the band has made a lasting impression and in turn bumped themselves out of the rut of the standard garage band.



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