With their album-length 2012 EP
Take the Kids Off Broadway
, backwards-looking concept rockers
Foxygen
arrived with so many classic rock reference points you could have made a bingo card out of the various nods to various heroes contained in their still somehow undeniably hooky songs. Proper full-length
We Are the 21st Century Ambassadors of Peace and Magic
is even more stuffed full of familiar sound cues and convincing '60s and '70s pop star mimicry, this time with heightened production from
Richard Swift
taking the album out of the lo-fi realm, and more personal lyrics adding some character to the artifice. Picking apart the blatant, intentional references to different classic songs that cycle verse-to-verse throughout the album is a fun game for record collector types; from the nod to the intro of
Sgt. Pepper's
on album-opener "In the Darkness" to the bold-faced
Dylan
isms (and less overt but equally strong
Al Stewart
-isms) of the incredible, big city lament "No Destruction."
Bowie
,
Lou Reed
, all eras of
Mick Jagger
, specific doo wop songs, and even moments of
the Band
; no oldies are safe from
's pure-hearted appropriation. Their reconstructive surgery of various influences is an interesting approach for a band made up of kids in their early twenties circa 2013, but it isn't the entire formula for what makes this record so great. Lots of bands before
have dealt with quick changes and sonic patchworks of older influences, but few have managed to craft songs as moving and catchy as these. The thick accents and psychedelic swirl of "San Francisco" walk the line of being patronizingly nostalgic until the hook-heavy chorus comes in, distant guest vocals from
Jessie Baylin
and
Sarah Versprille
answering singer
Sam France
's "I left my love in San Francisco" with refrains of "That's okay, I was bored anyway" and "That's okay, I was born in L.A." This one move disarms any cloying elements of the song and reminds the listener that
are in complete songwriting control, not just throwing back-dated pop culture references at the wall and hoping something sticks. In their earliest days,
Of Montreal
had a similar knack for updating their favorite records with their own personalities, as did many artists of the
Elephant 6
collective, but
WAT21CAOPAM
is more tuned in, clear-headed, and full of intent than any of
's more immediate predecessors. It's a gorgeous and non-stop convergence of ideas, some borrowed, some original, some refurbished, and some outright stolen. In the end, however, the album's coherence comes in its incredible architecture of all these ideas, and the way the band sells them with everything they've got, taking what could be incredibly obtuse music back into the realm of pop from which it was born. ~ Fred Thomas