Gold Dust, a long time favorite here at RCU, has expanded from a Stephen Pierce solo project to a tight four-piece band, and this record is that newly expanded group exploring who they are as an entity, and reacting to the world of which they were recently born into.

On this release, the band proves themselves to be extremely versatile and well-versed in so many different styles and modes. Across the album, ethereal sunshine pop influences meld beautifully into kaleidoscopic psychedelia and earthy folk qualities, often even within the same song. Take for instance the opening cut, “Whatever’s Left,” which features glowing, iridescent vocal harmonies and hook-laden pop rock melodies, but also absolutely ripping guitar solos. “Moths to the Glow” and “An Early Translation of a Later Work” meanwhile roll and thump like classic Richard Thompson-lead Fairport Convention tunes on mushrooms and stacks of Orange amps, with none other than sir J. Mascis contributing a scorching electric sitar solo to the latter.

Then, tracks like the pastoral “Sympathy for Scavengers” echoes the freak Americana folk of groups like Akron/Family. Yet, there is a strong influence of British folk music traditions that weaves throughout the album, including the funereal march coda at the end of the previously mentioned “Sympathy for Scavengers,” and the Morris-dancers-on-the-green ambiance that bridges “Last Call” to the record’s closing number, “Whatever’s Left Pt. II: A Cactus in New England.” This perfect melding of sounds and vibes from the past and present gives the LP a sense of timelessness, and even a slightly haunted quality. It’s like the ghosts of the past are still loudly reverberating in the background of these more modern rock recordings. It’s always fascinating to hear a band honoring and acknowledging the musical heritage that lives within their sound’s very DNA.

For a truly original musical experience, seek out In The Shade of The Living Light.

-KH