Today's featured shit

I reviewed “The January EP” in July. Now it’s a different month to review a different album. The sound hasn’t changed much — nor does it need to. “Hard to Be Close” is a good example of how the band continues to put out good work.
The falsettos are a bit strained on “Alone but Moving,” and I hear the channeling of Steve Miller Band a wee bit. If you’re looking for the female backing vocals found on previous Here We Go Magic efforts, you’ll find them in “Over the Ocean,” which also has harp and other acid-encouraging accompaniment. This is a lot of fun if you’re not trying to drive at the time.
A faster tempo and subdued-this-time harp give “How Do I Know” a nice, shiny finish. This track builds and builds toward a strong finish. The title track is last and 8 minutes long. After 5 minutes, you think it is done, but instead it is like Grampa Simpson telling a story.
The album is fine, but I was really excited and set my expectations too high. I think I might have had the wrong impression about the band from the get go.

What a difference a comma makes. If there were one, this could be a record about an NBA team from Orlando reaching the midpoint of the regular season. But there isn’t, and it’s not.
“Tulip” is the first track and has straight-forward jangly guitar, with organ underneath and male falsettos. The female vocals come in on the chorus and sound like something Bono would do with U2 if he weren’t so insecure with his selling out.
If you wanted Duncan Sheik with Steve Miller synths, “Hands in the Sky” thinks about it. “Song in Three” is the third track, natch, and sounds a lot like “Hands in the Sky.”
The title of “Hollywood” has the same melody as “Christmas Time Is Here,” by Vince Guaraldi. He’s the Peanuts guy if you don’t remember. The song itself is slow and meandering, but it is instantly likable if you have a positive association with A Charlie Brown Christmas. It’s also only two minutes long.
If nothing, it serves as more of a contrast to the next track, “Backwards Time.” This is one of the fastest songs on the EP, and the synths and percussion dominate this ’80s-inspired track.
“Mirror Me” is the last track, as well as the best one. A lot of times when you have male and female vocals the challenge is finding the proper balance, not just a Fox News Channel fair and balanced. Well, they get it right on this one.