There is also something extremely fresh in the way DIIV take an age old sound and turn it into something magical and at times deeply beautiful.
It's this evocative approach to songwriting, rather than anything happening sonically, that suggests the infinite promise of DIIV's future.
The experience of Oshin is aqueous and amorphous in a way that makes using the term "rock" feel uncomfortable.
Oshin emphasizes a charmingly low-budget kind of grandeur, like Ride’s Nowhere reconstructed via laptop.
At its best, Oshin feels like standing in a cavernous room with hazy beams of light coming in from slits in the walls.
Oshin is undeniably a record tailored for driving around with some friends in the dead heat of summer, but the music also packs a range of raw emotions
It affects you whilst it’s there, combines strength with the sun’s rays for vitamin-fuelled feel-good non-synthetic euphoria. But then it leaves. And no one’s any the wiser.
It's clearly the product of a band in a conventional sense, one tightened like a corkscrew by relentless touring and songwriting.
The songs just don’t stick long enough to make more than an impression in the pillow.
Because it’s 2012 and because it’s tediously unassuming, people will listen to it in the background once or twice while skimreading blogs and forget about it within a year.
|# 30 -||Beats Per Minute|
|# 6 -||DIY|
|# 14 -||FILTER|
|# 7 -||musicOMH|
|# 13 -||NME|
|# 40 -||Pitchfork|
|# 35 -||Pretty Much Amazing|
|# 22 -||Stereogum|
|# 14 -||The 405|
|# 19 -||The Fly|
|# 3 -||The Line of Best Fit|
|# 6 -||Time Out London|
|# 16 -||Under the Radar|