The Radical Sons' twin-guitar lineup allows for the interplay between lackadaisical strums, inventive leads and the occasional bit of stop-start dynamics. The guitars are mostly played without much adornment, letting the amplifier's natural distortion give a little crunch and bite (as on the tail end of "Planes and Trains"). This leaves plenty of room for Goldstein's boho drawl, which settles in the space between '66 Bob Dylan and '67 Lou Reed. On the title track, however, he drops the detachment and lets the quick, syncopated guitar strokes lift his vocals above the din, showing the group's more playful side.
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