California Nights

Best CoastMay 1, 2015
Indie℗ 2015 Harvest Records
50
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California Nights is the third studio album by American rock duo Best Coast. It was released on May 1, 2015, by Harvest Records. It was produced by Wally Gagel, who also produced the duo's 2013 EP Fade Away.
The band announced the album along with tour dates and the release of a "dreamlike" video directed by Adam Harding for the title track, which also served as the lead single. On the band's official website, singer-songwriter Bethany Cosentino described the band's approach to the making of the album, stating: "In LA, there's a real darkness that you don't see unless you know where to look. That's a theme we very consciously decided to explore and play with when making this record. We related to the idea that things may look or sound fun and upbeat, but they may not actually always be that way."
A video for second single "Heaven Sent" directed by Lana Kim and Cosentino was released on April 1, 2015. Third single "Feeling Ok" followed in mid-April, which the duo performed on Conan on May 5. "In My Eyes" was serviced to US alternative radio on February 23, 2016, as the album's fourth single.

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Songs
1
Feeling Ok3:16
2
Fine Without You3:21
3
Heaven Sent3:25
4
In My Eyes3:46
5
So Unaware3:03
6
When Will I Change3:52
7
Jealousy3:27
8
California Nights5:11
9
Fading Fast2:11
10
Run Through My Head4:00
11
Sleep Won’t Ever Come3:58
12
Wasted Time3:52
4.5
50 total
5
4
3
2
1
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Additional Information

Total length
43:26
Released
May 4, 2015
Label
℗ 2015 Harvest Records
File type
MP3
Access type
Streaming and by permanent download to your computer and/or device
Internet connection
Required for streaming and downloading
Playback information
Via Google Play Music app on Android v4+, iOS v7+, or by exporting MP3 files to your computer and playing on any MP3 compatible music player
For their second album, The Only Place, California duo Best Coast hired Jon Brion as producer. Right away it's clear that the fuzzily lo-fi noise pop sound of their debut, Crazy for You, was a thing of the past, and the band was looking to smooth things out quite noticeably. Hiring Brion to produce a noise pop record is like asking Rothko to paint your mailbox. What he and the band have done is replace the simplistic drone of the distorted guitars with a more layered, much janglier sound, added tons of space to the arrangements, and made sure each song gets the sonic approach it needs instead of the set-it-up-and-record-it style of Crazy. The result is an album that has a classic pop/rock sound that anyone who's heard an R.E.M. or Beach Boys or Springsteen record will instantly identify with and understand. It may disappoint anyone who wanted Crazy for You, Pt. 2, but the band didn't make this record for those people. On a sonic level alone, the record works very well. Bethany Cosentino reliably writes super-catchy melodies and sings them winningly, Bobb Bruno does a fine job filling in the songs with hooky guitar lines, and Brion adds the little touches that have made his name as a producer. The uptempo songs have a light bounce that will have people bopping along, the ballads have fully realized arrangements that sound dreamy as can be, and the whole record has a warmth that was missing from anything the band did before. The problem lies with Cosentino's awful lyrics. What seemed cute and only a little awkward in the past is now extremely clunky and slightly ridiculous. That her lyrics are shallow isn't such a big deal -- it didn't ruin Crazy -- but the real problem is that this time they are gratingly personal to the point of being like diary entries (as on "My Life" with the lines "My mom was right/I don't wanna die/I wanna live my life") or smug (on her title-track ode to California that includes the deathless rhyme "We've got the ocean, we've got the babes/We've got the sun, we've got the waves") or just plain boring and/or embarrassing (most everywhere else). Instead of making Crazy for You, Pt. 2, she's made Crazy for Me, Me, Me. When lyrics are so endlessly, inwardly directed as they are on The Only Place, there needs to be some spark of something interesting cooking in there, or the result will be an album that looks like a delicious cake but tastes like sawdust and chalk when you bite into it. Give the group credit for taking a step forward from Crazy for You: the album sounds great, full of catchy and well-crafted songs. Too bad it all falls apart so drastically when you factor in Cosentino's disastrous lyrics.
For their second album, The Only Place, California duo Best Coast hired Jon Brion as producer. Right away it's clear that the fuzzily lo-fi noise pop sound of their debut, Crazy for You, was a thing of the past, and the band was looking to smooth things out quite noticeably. Hiring Brion to produce a noise pop record is like asking Rothko to paint your mailbox. What he and the band have done is replace the simplistic drone of the distorted guitars with a more layered, much janglier sound, added tons of space to the arrangements, and made sure each song gets the sonic approach it needs instead of the set-it-up-and-record-it style of Crazy. The result is an album that has a classic pop/rock sound that anyone who's heard an R.E.M. or Beach Boys or Springsteen record will instantly identify with and understand. It may disappoint anyone who wanted Crazy for You, Pt. 2, but the band didn't make this record for those people. On a sonic level alone, the record works very well. Bethany Cosentino reliably writes super-catchy melodies and sings them winningly, Bobb Bruno does a fine job filling in the songs with hooky guitar lines, and Brion adds the little touches that have made his name as a producer. The uptempo songs have a light bounce that will have people bopping along, the ballads have fully realized arrangements that sound dreamy as can be, and the whole record has a warmth that was missing from anything the band did before. The problem lies with Cosentino's awful lyrics. What seemed cute and only a little awkward in the past is now extremely clunky and slightly ridiculous. That her lyrics are shallow isn't such a big deal -- it didn't ruin Crazy -- but the real problem is that this time they are gratingly personal to the point of being like diary entries (as on "My Life" with the lines "My mom was right/I don't wanna die/I wanna live my life") or smug (on her title-track ode to California that includes the deathless rhyme "We've got the ocean, we've got the babes/We've got the sun, we've got the waves") or just plain boring and/or embarrassing (most everywhere else). Instead of making Crazy for You, Pt. 2, she's made Crazy for Me, Me, Me. When lyrics are so endlessly, inwardly directed as they are on The Only Place, there needs to be some spark of something interesting cooking in there, or the result will be an album that looks like a delicious cake but tastes like sawdust and chalk when you bite into it. Give the group credit for taking a step forward from Crazy for You: the album sounds great, full of catchy and well-crafted songs. Too bad it all falls apart so drastically when you factor in Cosentino's disastrous lyrics.
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