The Lovetones belong on a record player in a shag carpet filled room as a lava lamp glows in the background. Unfortunately, or arguably fortunately (patchwork bellbottoms should stay a thing of the past), their 2009 release Dimensions will be heard from the iHomes of second-generation hippies. Based in Australia, The Lovetones received critical acclaim after their 2003 debut album, Be What You Want. With comparisons to Lennon and McCartney in tow, the foursome went on to tour with British rock sensation Morrissey and produce three more albums. Dimensions adheres to their successful psychedelic rock formula; however, its overall serenity is a side of The Lovetones not previously exhibited.
As a whole, the album belongs in a different era. With tinges of America and early Bowie, Dimensions acts as a sample platter of all things late ’60s, early ’70s rock. The opening track is purely instrumental, and appropriately sets the tone for the rest of the album. Although free of lyrics, “Moonlit Suite (Her Room)” is the album’s most thought-provoking track. Its trance-like sound forewarns the listener that this album is far more subdued than their previous work.
“Love and Redemption,” another of the album’s strongest tracks, resonates the mentality of the free-loving, tree-hugging era. Lead singer Matthew Tow encourages this attitude as he sings, “Well I’m getting out of this dirty town/ There’s a lot of mean people/ And bad shit going down/ There’s greed/ There’s hate/ I don’t see much love and redemption.” Although not particularly poetic, Tow consistently makes valid observations throughout the album.
“Two of a Kind,” another track that could easily be transposed to 1968, offers the same simplicity of lyrics, but it focuses on a different tale: love. The object of the narrator’s affection is as free-spirited as the band’s hippie-era vibe necessitates. “I start to think of her/ And I wonder why/ She’s here one day/ And then gone the next,” Tow croons. Given the subject matter of the album and the accompanying instrumentals, the tone of Tow’s voice is aptly simple.
While there is not anything particularly unique about Dimensions, it is hard to find anything truly negative to say. Although arguably a contradiction, there is something refreshing about a psychedelic rock revival in the 21st century. The album is soothing and melodic. Tow’s uncomplicated voice congruously croons simple lyrics as it effortlessly blends in with undemanding instrumentals. It appears as though the simplicity was a conscious choice, for The Lovetones do provide snippets of their greater musical ability. For instance, in “Look at the Waves,” the song opens with the flute and in “There is No Sound,” a xylophone mimics the guitar.
Dimensions would have achieved the same moderately successful level in the era it attempts to imitate, as it will now. Neither then, nor now, is this album destined to change lives. However, there are no glaring flaws, other than a lack of extreme originality. Dimensions has the ability to bring you to another dimension; just make sure you wear your Birkenstocks to get there.
3 1/2 stars out of 5.
