It’s none too often we opt to dissect the components of any which extended-play, purely because there never seem to be all that many that are truly worthy of extensive attention although in the case of precocious Seattleite Peter Michel, who this afternoon at long last unveils his much hankered for Dunes EP, well, let’s just say we’ve yet to swoon so hard for Hibou. It begins with the accelerative guile of Sunder but if you’ve buzzed about these parts previously you’ll doubtless have already indulged in that one and no matter how insatiable my hunger may be for its dizzying estival MO, I shan’t wax lyrical all over again. What I will do, however, is eulogise at length the remainder of the recording.
Up first, or rather next, is the primarily instrumental sprawl of an appositely unwound Valium. First things first, it sounds a heck of a lot like those most sedate moments of Oshin although if you, like we, are yet to really get over that particular record, then its lilting shimmer will surely tide you over ’til Cole comes back around.
A moist and hypnagogic love song, it segues into the by contrast bittersweet Above Us, on which tumbling guitar lines intertwine with a vocal loveably dishevelled as a tousled mane ruffled by morning pillows dappled with discernibly West Coast lustre.
Onwards, and we’ve the oddly familiar In The Sun which, a faithful recreation of this putatively summery season formed from faded recollections of terms past, the tightly coiled sprightliness of Beach Fossils and the blithe abandon of, say, Barcelona, proves a belated highlight.
And last but by no means least, Michel figuratively hurtles off into the sunset to the lulling doze of a right ol’ doozy in Motion. Less a fullstop than a foreword on further brilliance doubtless yet to come, Dots & Dashes don’t do EPs. But if we did, then Dunes would doubtless feature right up there among the upper echelons of those experienced thus far this year.