The harpsichord-heavy “Closer Everywhere” is striking, if lamentably jarring. More experimental additions don’t always come off, too often waning on unnecessary-sounding. Somersault is still every bit a record of shimmering guitars: it’s a feature on which this scene relies. Payseur’s lyrics are still stereotypically and undeniably “indie” -“Couldn’t really tell you/What I’m trying to find/Everyone’s so boring/Makes me want to lose my mind,” he sings on “Down the Line.” But the 31-year-old, who is now joined by bassist Jack Doyle Smith and guitarist Tommy Davidson, has made sure to distil some surprises in Somersault which attempts to keeps it tripping on further away from 2013’s Clash the Truth. “Sugar” holds much the same blurry-eyed sonic sentiment as DeMarco’s “My Old Man.” The lo-fi dream rock state of both artists’ output, alongside original 2008 label mates DIIV and Wild Nothing, remains. If you swapped lead singer Dustin Payseur’s vocals out for Mac DeMarco’s, little would sound out of place -both Demarco and Beach Fossils started out on the same Brooklyn label Captured Tracks, after all. It’s a moment of deft self-reflection on a record where, four years since their previous album, the members of Beach Fossils are still working out how to sound sure of themselves. The third studio album from New York dreamy rockers Beach Fossils stops to a near-standstill half-way through its fifth track, “Rise,” where Memphis rapper Cities Aviv leads a saxophone-induced slow dance.
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