The Mystery Lights – ‘Purgatory’ album review: an enjoyable trip to a bygone era
THE SKINNY: These days, it’s not hard to stumble upon bands who dedicate themselves to creating music that sounds as though it could’ve emerged from a different decade. Many bands out there are desperate to recreate those enthralling garage-psych sounds that defined the 1960s, and The Mystery Lights are one of the most authentic.
It’s clear that the Mystery Lights have religiously studied what made bands back then so great, absorbing the essence of ‘60s alternative rock perfectly. Having released their debut album, Teenage Catgirls and the Mystery Lightshow in 2009, the band have been around for some time now, yet they’ve always stayed faithful to a distinctive sound, one that suits them incredibly well.
With their newest record, Purgatory, the band lean into what they do best with impressive skill, wrapping us up in a world of catchy riffs and groovy, kaleidoscopic soundscapes, underlined with a lo-fi sensibility that makes you wish you were listening to it on vinyl (if you’re not already, of course).
The album sounds like it would soundtrack the final days of a late summer in ‘60s California as you cruise through sun-beaten roads with your loved ones. On songs like ‘Memories’ you’re transported to the beach, where the band encourage you to sing along and enjoy some lighthearted fun, while the intro to ‘Can’t Sleep Through the Silence’, for example, offers up a slightly darker side to the group.
Purgatory truly sounds like a record plucked from a different time period, borrowing from the forgotten garage rockers of the era, British Invasion bands like The Kinks, and even surf rock acts like Dick Dale. While it would be nice to see the band expand their sound a little, the album is still packed with short and sharp tracks that certainly don’t disappoint. If you’re into 2010s-era neo-psychedelia or just classic ‘60s DIY rock, this is an album for you.
For fans of: People who buy their clothes from The Hippie Shake and overpriced vintage shops.
A concluding comment from my boyfriend: “Let me guess, every member of this band owns a copy of Nuggets.”
Purgatory track by track:
Release Date: September 13th | Label: Wick Records | Producer: Wayne Gordon
‘Mighty Fine and All Mine’: Opening the album with some cheery riffs and a contorted screech, this song instantly engulfs us in a world of vintage-soaked passion, with Mike Brandon declaring the lengths he’d go for his “baby.” [4/5]
‘Memories’: A repetitive chant of “walking” introduces the song before steadying into a stable rhythm, where the band’s deep backing vocals compliment Brandon’s main vocals nicely. [3/5]
‘Purgatory’: For some reason, the vocals on this one sound particularly authentic to a bygone decade. There’s a good build of tension within this track, too. [3.5/5]
‘In the Streets’: The way that the guitar chords strike and jolt here is reminiscent of late-70s post-punk. The bassline that rumbles underneath is great, bringing everything together nicely. [3.5/5]
‘Together Lost’: This one makes you want to get in a car and drive along an American highway and think about life. There are some Doors-esqe keys here, which give the song a slightly melancholic feel. [3/5]
‘Trouble’: A danceable, powerful number with a bassline ascending underneath jangling layers of guitars and shouted backing vocals. [3.5/5]
‘Sorry I Forgot Your Name’: Bearing more of a country influence, there is something wholesome about this one, with Brandon apologising for accidentally “giving attitude.” [3/5]
‘Can’t Sleep Through the Silence’: Opening with a darker riff that flies in like an aeroplane, the song drips with a powerful swagger that will have you shaking your hips. [3.5/5]
‘Cerebral Crack’: This one is a bit moodier and brooding, with Brandon imbuing his performance with a certain level of melodrama that is captivating. The flutes are a great touch, too. [3.5/5]
‘Automatic Response’: Once again, Brandon lets his voice shine, although this track isn’t as memorable as others on the record. [3/5]
‘I Don’t Want No, Don’t Need No’: The penultimate track is much more upbeat and catchy, with fast-paced instrumentation backing Brandon’s desperate declarations of independence. [4/5]
‘Stuck Out’: Addressing someone’s father, Brandon tells us a story about a girl gone bad over some steady instrumentation, only for the band to pick things up as the album comes to a close. However, the final thing we hear is a skipping record, leaving the listener slightly on edge. [3.5/5]
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