Looking back, it's clear the 2008 reunion was pivotal for , helping him re-focus and re-dedicate himself to playing in a band. Like the original band, Mach II didn't last long -- long enough to play a few shows and record a warm, gangly beast of an album -- but it reinvigorated . Afterward, he reveled in the sound of how played, digging deep into his catalog to shake up his set lists, letting the group exercise some blues muscles on 2010's , a record that stood as ' rowdiest record since the '70s but which is easily overshadowed by the trashy psychedelic pulse of 2014's . Teeming with fuzz, overdriven organ, and hard four-four rhythms, all interrupted by the occasional blues workout or jazz shuffle, comes across as a knowing splice of 's own XM radio show Buried Treasures and 's Sirius channel Underground Garage, a record that celebrates all the disreputable 45s created in garages so they could be played in garages. Occasionally, the band evoke memories of their own past -- "Shadow People" has guitar tones straight out of -- but they're largely dedicated to the sounds that provided them with their original inspirations. What prevents from sliding into the arena of soft, desperate nostalgia is a combination of muscle and savvy, a combination that gives the album a strong infrastructure -- strips his songs to the bone; they're so lean they feel as if they clock in at two minutes, even if they run twice that long -- and a sonic wallop. Much of that visceral thrill is due to co-producers , guitarist , and accentuating the intuitive interplay in with sharp, striking slashes of color; this gives the record immediacy and complexity, which means there is enough aural activity that repeated plays do not dull the LP's initial bracing impact. Ultimately, is a record about the pure joy of sound, a rush that doesn't lessen upon repetition -- a sentiment that's true of those old '60s garage rock singles and early albums, and this is a surprisingly, satisfyingly vigorous record. ~ Stephen Thomas Erlewine