Lilys: Precollection (Manifesto)

Precollection deserves to be treated as something more than a mere nostalgia act.

Hold on a second; I’m thinking of how to write this review without invoking the name of Ray Davies. Rich in ’60s British Invasion-isms or not, Precollection deserves to be treated as something more than a mere nostalgia act. So before we begin, let’s acknowledge the prominent influence of the Kinks on Lilys frontman Kurt Heasley, a Philadelphian who sings as if he grew up along the Mersey, and then forget that influence for the rest of this review.

Precollection is a solid, summery album that draws as much from shoegazer pop as it does from the subgenre I have promised not to mention in this review. Distorted electric guitar streams course over cleanly picked acoustic parts. Sequenced drums share space comfortably with man-powered beats. Heasley’s voice, with its affected British accent, hovers in the higher registers, sometimes full-bodied and sometimes fey, warbling personal poetry with psychedelic overtones.

Precollection’s songs reflect a band confident in establishing its sound while avoiding a tiresome sameness, creating dynamic songs with interesting sounds. “Melusina” pairs sunshiny guitar chords with hand-played drums. “Squares” is a fast number layering chiming guitars and shiny, clean drumbeats. It’s highly reminiscent of— Oh, right, I’m not going there, so I won’t tell you Who I had in mind. “Mystery School Assembly” rides over a looped sample of brushed cymbals. Closer “365”’s fuzzed-out guitar dutifully chugs through a changing scenery of flanging atmospheres, rapidly strummed acoustic guitar, and psychedelic vocals, practically promising a build-up that never shows.

There are a few misses (“Meditations on Speed”), but taken in the context of genre, Precollection is an excellent album. Removed completely from its context, it’s an excellent album, as well.