Although the band was formed in Seattle, La Luz never sounded like they belonged in the Pacific Northwest. The garage-pop four-pieceâs reverb-heavy music felt far too laid-back and dreamy to have emerged from the damp climes of the Emerald City. Perhaps heeding the sonic call that came from within their first two full-lengths (2013âs Itâs Alive and 2015âs Weirdo Shrine), the group picked up stakes and relocated to Southern California, where they concocted their latest and greatest album, Floating Features.
If the new LP is anything to go on, the move hasnât changed La Luz all that muchâFloating Features fits comfortably into the bandâs steady trajectory. Instead, the new environs have inspired principal songwriter Shana Cleveland to dig deeper into the essential building blocks of her groupâs aesthetic. The tempo and mood are more languid, with even the peppiest tracks feeling like theyâve been pitched down a few beats per minute for maximum hallucinatory effect. And when things slow down, as on the swimmy âMy Golden Oneâ and the stoned âWalking into the Sun,â itâs like a glorious overdose of cheap beer and vitamin D.
Cleveland reveals the impact of La Luzâs new ZIP code within Floating Featuresâ lyricsâthereâs plenty of giddy romanticism, a few pangs of regret, and some discomforting memories of recent nightmares. But the core of the album is found in âCalifornia Finally,â a sigh of relief delighting in âone endless summer after anotherâ and finding the peace to do what she wants, at her own unhurried pace. Sounds damn enticing. Who knew dreams still came true in Los Angeles?