Underscoring their anti-pop leanings, the La La Lettes open and close their latest album, Obsession, with a knowing parody of repetitive pop music titled “Kiss Me.” Barely a minute long, the track gets at the heart of pretty much every song I hear whenever I walk into my local department store, and the title includes two-thirds of the song’s lyrics. The other third, if you’re curious, begins with the letter F.
As if to cleanse – or perhaps dirty – the palette, the album then launches into a 45-second assault of noise that resolves into “Man Overboard,” a fuzzy, overdriven tribute to 60s garage rock that calls to mind a bit of both Black Sabbath and Captain Beefheart.
Keeping the lo-fi 60s vibe going, the third track, “Elements,” proffers a loving echo of the late, great former Pink Floyd front man Syd Barret, and the remainder of the album carries through with an equal balance of fuzz and psychedelia with a little bit of soul thrown in for good measure.
Of particular note are the guitars on a track called “Kimberley,” a song that wholeheartedly evokes Iggy and the Stooges, and the horns towards the end of the album’s closer, “Landing.”
The real clue to what the album is doing, however, occurs in the final fifteen seconds with the (consciously) repetitive reprise of the album’s opening track. The effect here is to make the body of the album feel like a glorious interruption of the day’s regular dreary programming. To put it another way, it frames everything else as a big middle finger to mainstream pop.