If you're looking for an ultimate half and half fusion of John Lennon with early-'70s David Bowie, the Lovetones' second album is one of the closer approximations that's apt to appear. They credibly recall both of those figures in the arching vocals and earnestly penetrating vocals, and (at least as far as Bowie goes) in a vague sort of launching-into-the-cosmos ethos. As with many efforts that bring to mind icons of decades past, half and half don't necessarily make a whole on par with the whole of any single one of their inspirations. There's a slightly lazy, drifting feel to lyrical preoccupations, and a similarity of approach throughout most of the tracks, that the masters of these kinds of forms transcend with greater eclecticism and vision. Keeping your expectations realistic, however, it's a pleasant listening experience, with an effectively psychedelic-tinged, full but not densely cluttered blend of electric and acoustic guitar and keyboard textures. The keyboards in particular recall early Pink Floyd on "Genius" and the dramatic closing instrumental, "The Color and the Cut," which builds to an opus-like piece after a comparatively modest beginning. Among the highlights are "Inside a Dream," with its gently sliding guitar glides; "Come Home," which sounds a little like the Beatles' "Free as a Bird" as done by an indie band; and "Across the Sea," whose chorus can't fail to recall the melody of Buffalo Springfield's "Broken Arrow."
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