Oranges by late note

After a three-year hiatus, Pooch Mitchell and his Late Note solo recording project release two albums simultaneously (the other is the almost as fine “Purple Flowers”), both of which possess a sense of spuriousness and obtuseness that resonates with me.
I may have a slight preference for this “Oranges” release, as it embodies that perfectly weird quality that distinguishes Mitchell as the finest act that labels like Paisley Shirts Records and Spoilsport Records—natural homes for jangly lo-fi eccentricities—have yet to sign.
Slathered in absolute no-fi, the album progresses steadily through primary interconnected nuances. Tracks such as “Wondering,” “Certified Insane,” “Beer Lover, You Should Come Over,” and “Person of Interest” feature chiming riffs bouncing off the walls, creating a reverb-dominated resonance that is only loosely tethered to some semblance of song structure by an underlayer of incidental jangled riffs. The aesthetic nods tentatively in the direction of the Cindy sound without explicitly claiming it as a reference point.
However, it is the captivating three-track sequence of “Tennis,” “Kill Thrill Love Song,” and “Run Baby Run” that truly gives the album its edge. Here, a swirling, melodic noise rock is intertwined with the fuzz pop from the more manic side of the Guided By Voices catalogue, as twanging riffs provide purposeful and insightful interruptions. It is a chaotic blend of aural layers, yet the mayhem remains perfectly controlled.
Late Note is one of ‘those’ acts that will help to ensure that obtuse will always have its place upon the musical lansdcape.
#janglepophub

Late Note is Pooch Mitchell
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