Beach Fossils may be very 2010 but they aren’t just along for the ride, they’re driving the bandwagon. No one else (apart from the Drums and their naggingly omnipresent "Let’s Go Surfing" or maybe Surfer Blood with “Swim”) has written a song as radio-ready as “Daydream.” More impressively, that song is only one of many shining examples of on-the-cheap pop that hits like the blunt end of an axe. The focus and clarity of his playing and arrangement also give the record an originality that lets the record stand out from the hissing crowd. It’s hard to pinpoint exactly why, though it helps that Payseur’s songs are instantly catchy and his voice betrays no smirkiness, just pure innocence. Of all the bands operating in this general area, Beach Fossils is one of the best and their self-titled record works as one of the early landmarks of the sound. In this case the one person being Dustin Payseur. Many of them are one-person outfits, as well. Many of the bands are on the same label, Captured Tracks. Beach Fossils’ latest release, The Other Side of Life: Piano Ballads, is less an album than a radical reimagining of their back catalogue.According to lead singer Dustin Payseur, frequent Beach Fossils collaborator Tommy Gardner, who played with the band for several years, always had an incredible knack for reworking their songs in a jazz style. Namely, a lo-fi take on the indie pop sound with loads of reverb, guitar parts reminiscent of surf music, simple-to-rudimentary drums, and innocent, almost deadpan vocals. Retrieved 3 April 2019.In 2010, there were a lot of bands doing roughly the same thing as Beach Fossils. ^ "The Quietus - Reviews - Beach Fossils".^ "Album Review: Beach Fossils – Clash the Truth"."Beach Fossils' Dustin Payseur on Inexplicably Rowdy Fans and Working With Blonde Redhead". Of all the bands operating in this general area, Beach Fossils is one of the best and their self-titled record works as one of the early landmarks of the sound. "Beach Fossils Talk Their Close Call with 'Clash the Truth' ". ^ a b Lindsay, Cam (February 20, 2013)."Beach Fossils Frontman Dustin Payseur Knows Who He Is, And Embraces It". ^ Sundermann, Eric (February 20, 2013).The songs do more than simply breathe new life into guitar pop – they snatch its breath away." In 'Careless' and 'Crashed Out', nervy, guitar jangle and punchy percussion come together in breakneck instrumental outros unlike anything Payseur has recorded previously. What separates the album from previous releases is its robust sound." while also commending this approach by writing "It's like Payseur went from doodling on Post-it notes to emblazoning missiles across the sky. In a similar review, The Quietus writer Ryan Foley commented on their production and songwriting by writing " Clash The Truth follows that 'Beach Fossils' template to a tee. What matters is that their eyes are trained forward." In a lukewarm review for Pitchfork, Ian Cohen wrote that "The New York City dream pop band's second album sees them introduce a darker, more socially aware edge, though it trades their former instrumental rigidity for amiable, mid-fi college rock jangle." Writing for Consequence of Sound, reviewer Paula Mejia rated the album a C+, stating that "Beach Fossils’ Dustin Payseur strays from the syrupy reverb typically dominating Beach Fossils’ breezy aesthetic, trading it in for torrential guitars and thrashing drums on his band's restless sophomore release." She continued with "With Clash the Truth, Beach Fossils are driving away from the blinding sunlight and toward a shadowed elsewhere. Reception Ĭlash the Truth received mostly positive reviews from critics, some noting the more focused themes of adolescence and nostalgia as a sign of growth and maturity while continuing to refine their sound and style. The artwork used for Clash the Truth, designed by Captured Tracks founder Mike Sniper and Dustin Payseur, features black and white stills taken from the experimental video Three Transitions (1973) directed by Peter Campus. It also features collaborations with Kazu Makino of Blonde Redhead and Jack Tatum of Wild Nothing. Ĭlash the Truth featured new drummer Tommy Gardner, who allowed for a faster, more energetic sound than in previous releases. Recording was briefly interrupted when Payseur's studio was flooded during Hurricane Sandy. The recording of Clash the Truth was finished at the Excello Recording studio in the fall of 2012. Dustin Payseur wrote and recorded a demo of the entire album in his apartment in New York before recording it professionally in a studio.
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