Something relaxes in me as I listen to “Vodka Ocean.” And it has nothing to do with the song’s lyrical content (about which more later). It’s the straightforward palette of traditional rock’n’roll—guitars, bass, drum. And maybe more than that: it’s the clarity of two distinct guitars interacting. That’s one of the sounds that the digital age has drained from our cultural commons and I don’t recall that we took a vote on this. You can hear it in the introduction, and during the instrumental breaks, the way both guitars find their own lead lines, working in a way that is at once complementary and also independent—it’s as if the guitars aren’t necessarily listening to each other but merely trusting that the other one is going to be in a sympathetic place.
And as I keep listening I detect an extra element buttressing the two-guitar attack, and probably rendering it all the more ear-catching, and that’s the bass. Urgent and creative, the bass functions nearly as a third guitar for all its melodic inventiveness. It even gets a fuzzed-out solo (1:55), not something you hear everyday.
Oh and as for those lyrics apparently the song grew out of an unfortunate bit of overindulgence at a music festival, after hearing that Frank Ocean had cancelled. Further details are probably best overlooked, but any band that can turn such an incident into a song this assured and engaging is worth keeping an eye on, says me.
Lost Woods claims inspiration from early ’90s indie rock and I am not only hearing that generally but I am finding myself thinking specifically, and fondly, of the trio Dada (known best for “Dizz Knee Land” but their 1992 debut was chock full of incisive tunes). “Vodka Ocean” is the third Lost Woods single; an EP is on the way.