Like an American Oliver, Jason Quever was orphaned at a young age. But, instead of suffering Dickensian cruelty, Quever was adopted by a Californian commune before settling in San Francisco – a far cry from begging for more gruel. It was in San Francisco that he recorded with Cass McCombs, Casiotone For The Painfully Alone, Beach House and Vetiver (Andy Cabric owns Papercuts’ current label) as well as hammering out a sun loving sound.
Quever’s third album, You Can Have What You Want is recorded old school – Quever wanted an exclusively analogue sound because ‘it sounds better’. He may have a point, this an album that has all the flower power nostalgia and warmth of the analogue age. Hammond organs, mid tempo bass, a hint of drums, and gentle reverb-y vocals all float by in an aural haze that’s evocative of outdoor lounging on summer days with nought but blue skies and the dreamy hum of bees on wildflowers for company.
The whole album, like heady, shoegaze psyche folk, never breaks a sweat but insists on maintaining an even 60’s keel. If Yo La Tengo circa And Then Nothing Turned Itself Inside Out suddenly fell in love with FranÃ§oise Hardy it might go something like this.
This is bodes well and ill for the oddly named Papercuts. The album is more of a complete experience than a singles factory; its hypnotising atmosphere is so insular that it’s ideal headphone music apt to make you miss your bus stop. But, two thirds of the way though, the blanket of cyclical Velvet Underground-esque sound becomes a stuffy room and feeling lethargic, you begin to lust after a spot of fresh air. Over half of the tracks here clock in just shy of five-minutes, leaving you either happily lulled into daisy chain bliss or eager for something a bit more concise.
Still, it’s an album that fits a contemplative summer mood like a glove. Album opener -Once We Walked in the Sunlight’ and the broodier -Future Primitive’ will definitely see you through a thoughtful beach stroll in your flip flops. Queue the sunshine.