Last Dinosaurs is a band that thrives on formulas. Yumeno Garden sacrifices innovation for consistency, not straying from the pop-rock sound that filled the airwaves during the turn of the 21st century. With the current landscape of indie rock dominated by the resurgence of 90s DIY sensibilities, Last Dinosaurs offers a sound that’s relatively prehistoric, but can charm any devoted fan into a state of euphoric nostalgia (or nurse anyone else to sleep).
The first four tracks hark back to the Australian band’s previous records, with the opener, “Eleven”, sprinting from the get-go. The driving beat of the opening sequence sets the tone, as lead vocalist, Sean Caskey, starts the song off with its main hook. Yumeno Garden is fully equipped with arena-ready hooks, ready to be sung by a crowd. In blistering fashion, the next three tracks blaze through your earphones, often catching you out-of-breath. “Then all my problems kick in, just like dominos” screams Caskey in the chorus of “Dominos”, as his brother, Lachlan, sings along with the crunch of his angular guitar-work. “Bass God”, the best cut of the record, is carried by Lachlan’s pulsating guitar riff, which rips through Sean’s reverb-laden vocals and the arpeggiated synths. For much of the first four tracks, the lead guitar practices restraint, carefully placing itself within the mix, with every note elevating each arrangement and creating moments to remember. In the track “Sense”, Lachlan juggles a variety of lead tones per section of the song, particularly the opening riff, which mimics the sound of the marimba—a welcome reference to the band’s classic track “Andy”. Lachlan then caps the track off with a guitar solo that embodies the lovelorn angst of the song’s lyrics.
The rest of the album tells a different story, however. Much of the energy from the opening four songs is lost, with the band opting to further explore the atmospheric leanings of their second project, “Wellness”. The loss of their former drummer, Dan Koyama, is most felt in this section of Yumeno Garden. Koyama’s funk-tinged, idiosyncratic drum-fills played a crucial role to the band’s early sound and are sorely missed in the record. In “Happy”, the band delves into the realm of bedroom and synth pop, with Lachlan taking a much more reserved role. The lyrics are self-deprecatingly aware, yet unimaginative—a barrage of synths and drum sequences can only do so much to mask the tedium . Up next is “Forget About”, which plays to the same tune, as its mellow pace and murky production enchants you into a dream-filled trance that sadly leads to slumber . Yumeno Garden then trudges along the next four tracks nonchalantly, as only Lachlan’s lead work can salvage any sliver of worth from the album’s hazy remnants. “Non Lo So”, the album closer, is an ode to the current trend of psychedelic pop popularized by Mac DeMarco, and while it does intrigue with its loose song structure, the song essentially leaves one drowsy by its sluggish contentment.
For the avid Last Dinosaurs fan, this album will not disappoint. The uncanny J-rock flavored pop rock sound familiar to the band is still very much present. Despite Yumeno Garden being the band’s first self-produced effort, the album is their most professional sounding release to date. Years of experience shines through in the production, but that alone can’t make up for the lackluster songwriting—barring the first four tracks. In its wake, Yumeno Garden is a fan-pleaser that reels you in with its plethora of hooks and riffs, but ultimately leaves you underwhelmed.
Favorite Tracks: Eleven, Dominos, Bass God, Sense