Falling somewhere between the kaleidoscopic electro-pop of
Passion Pit
and
Foster the People
, and the vintage, retro-'80s pop of
the Horrors
,
Dark Clock
, the second studio outing from the Wisconsin-based,
Thomas Wincek
(
Collections of Colonies of Bees
Volcano Choir
)-led
All Tiny Creatures
, is a richly detailed, heavily arpeggiated, and highly quaffable bubble tea of a record that is as aloof as it is inviting. Seemingly constructed for some alternate universe club where the dancefloor is an inflatable moon walk, it's all atmosphere and effervescence, sequencers and ghostly backing vocals, offering up ten lovingly dense earworms that bathe simple melodies in gossamer tendrils of smoky synths and staccato rhythms. At its best,
bridges the gap between the experimental, loop-driven ambience of bands like
Animal Collective
Sigur Ros
and the more song-oriented approach of a
Toro y Moi
or
Neon Indian
, with highlights arriving via the epic, Krautrock-fueled opener "Comets," the evocative and elegiac "All Die Out," and the propulsive "Quickest Cut," the latter of which comes the closest to invoking the radio-ready opulence of
's millennial stadium pop. Elsewhere, the buoyant "Chase Lights" lives up to its moniker with four minutes of post-storm rainbow bliss, the multi-layered "Lone Sound" channels classic
Haircut 100
Scritti Politti
-era new wave, and the lovely and evocative "Reunion" closes things out with a
Smiley Smile
, layering
Beach Boys
harmonies over shimmery wavelengths of sound that may as well be emanating from the world's biggest (virtual) conch shell. ~ James Christopher Monger