Though Scott lathers his songs in tape hiss and disembodied noise, but the songs themselves are straight-forward and hooky guitar jams.
All in all, it's an incredibly auspicious opening salvo from a fascinating new voice that will hopefully go on to have a career with the length and impact of his influences.
At its best, Scott’s debut Melbourne characterizes the North Carolina native as a compositional talent to watch in spite of an altogether failure to be musically assertive.
For a guy who nails the ’60s and ’90s indie pop sound so well, he didn’t do quite enough research; at least not enough to make an individual statement that’s unique and captivating for the rest of us.
Ideas aren’t chased up and are cut off before they unfurl effectively, the bad choices stack up on top of each other, and that’s before the album dissipates over the final third.
Lo-fi pop that can be beautiful and charming that sadly just doesn't last as long as you would like. But it does have a woozy mysterious summer tone to it that is very listenable.