Opener T.O.R.N.A.D.O. is suitably schizophrenic, as synthetic horns bluster into visceral guitar stabs and cymbals emulating the deafening sensations of an evening trapped within Chi Fukami Taylor's hi-hat, whilst Secretary Song, featuring genuine office humdrum and hubbub, as well as a retro-tinged guest spot from infantile Deerhoof chirper Satomi Matsuzaki, invokes imagery of strutting out of a successful six-figure Shibuya business deal as every traffic light turns to a bedazzling hue of green. Ready To Go Steady is equally throwback, far from throwaway, featuring the deadpan vox of prolific bedroom back-cataloguer Lispector, although question marks fly and flicker about the mind as to quite why Cosentino wasn't roped in on the track... Appearing out of the ether of treble and cheerleader chants later on for Buy Nothing Day, Cosentino's fleeting cameos are infused with a nostalgia last engrained in early Best Coast EPs Make You Mine and Where The Boys Are, unfortunately all but entirely absent from Crazy For You, and couldn't be more suited to John Hughes collaboration were they spitting gum in the impeccable bob of the girl in the classroom row in front. Instrumental interludes inject some much thirsted variation on a theme that most sincerely still works, with haunting detuned pianos tumbling in simplistic synchronicity (Lazy Poltergeist) and vintage synths searing dilapidated Gruff Rhys-esque acoustics (Super Triangle) that ought to slip seamlessly into Little Big Planet 2 audio accompaniment. Scatty Popguns static is provided by the scuzzy title track, whilst the Ennio Morricone twangs of The Running Range, spliced together with cinematic synths and clunky bass, ethereal choirs and dancehall drums beguile and animate in equal parts. When stitch-work is done quite this consistently perfectly, it's nigh on impossible to fault the vigorous soundscapes conjured by Parton and cronies. Expect to beam inanely from the left to the right of your face when they tour sharpish.
