Cruise Torts immerses listeners with a fuzzy rock energy on the project’s new self-titled album. The brainchild of artist Paul Dunne, Cruise Torts captivates with a range of rock styles — from the breezy indie-rock of “Lemon Elation” to the distortion-heavy vigor of the epic finale “Again, Again.” The production effectively captures the sound of a full band playing live, despite everything being performed by a single multi-instrumentalist. The album succeeds in channeling ample passion and energy through its compelling production.
The album’s opener wastes no time in showcasing the project’s eclectic tonal range. “114” transitions from introspective vocals into blaring guitar distortion, signaling a punk-friendly intensity. “It’s not my time,” the fervent vocals declare, with angular guitar twangs guiding the track into an uptick in distortion. “Simulation Park” follows with a sludgier sound; the vocals aspire to “live undistracted” as the guitars shift from murmuring contemplation to twanging dexterity. Garage-rock notable Ty Segall is cited as an influence here, and it shows as the vocals launch into a title-touting “in between the trees” exultation. Cruise Torts starts off strong with this one-two punch, and the hits keep coming.
While the album opens with impassioned rock immediacy, “Hazy” introduces a more psych-friendly intrigue. “It’s not too soon,” escalates into feverish enthusiasm following the aptly hazy assortment of guitars and rumbling bass. The halted rhythmic momentum into the exhilarating vocal rise is particularly impactful, as is the triumphantly soaring re-emergence past the four-minute mark. The ensuing “Lemon Elation” charms with a breezier rock arsenal. The lyrics exude a sense of searching, building with jangly guitars that grow into flourishing lines. More subdued than many of the other tracks, “Lemon Elation” delivers an enjoyably composed rock production with a “nothing’s bringing me down” concluding perseverance.
The thunderous “Number One Lottery Winner” brings back the blistering intensity. “Was that your favorite song from 1964?” questioning accelerates into an intensifying tempo change around the midpoint, with allusions to the corrosive effect of money and wealth. “Moment in the Sand” delivers a similarly high-charged rock sound, while “Ripple” stands out with its more electronic-minded infusions. Clanging keys conjure nostalgia akin to Supertramp, while glimmering organs join with distorted energy for ample intrigue. The epic finale “Again, Again” is the cherry on top of this impressive album, spanning over 8 minutes of romantic lyrical yearning combined with sweltering guitar distortion, ceaselessly invigorating until its fading-out engrossment. Cruise Torts fully impresses with a memorable rock sound on this self-titled success.
