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Allah-Las are a bunch of quintessential surfer dudes from Los Angeles that met whilst working at the world famous Ameoba Records, bonding over a passion for classic vinyl and bands such as Love and The Zombies. Their first record was a trip; a breezy soundtrack for the back end of the Summer of 2012, and a very good debut and introduction to an interesting and captivating rock'n'roll band. Allah-Las has been played many times in my residence; I love their Beach Boys harmonies, their chilled out grooves, their clangy, duelling guitars that complement each other so well. And so the news of their follow up excited me.

Worship The Sun sounds like I expected it to. I knew the boys weren't going to come out with an insane electro-pop record, and that they were going to continue their well-crafted sound into album number two. That's the nature of the band: they're a rock'n'roll group in the true spirit of the '60's, revivalists and purists, much like The Brian Jonestown Massacre were before Anton Newcombe ventured into other genres and avenues.

'De Vida Voz' opens with an abrupt guitar announcement before galloping into familiar Allah-Las territory, that jangly, almost Johnny Marr-like strumming decorated with the refrain "voices carry through the canyon." The spirit of California is evoked once again, the imagery of beaches and frolicking in the desert apparent more than ever. The Allah-Las are so good at writing dusty, pothead garage rock'n'roll songs, and that doesn't change on Worship The Sun. 'Had it All' is next, a song that was shared almost a year ago back in September of 2013, with the lazy drawling vocals of lead singer Miles Michaud telling us how he had it and then lost it: "well it all just came and went, faster than I could." The backing vocals on Allah-Las tunes are such a joy to listen to, the sound of three baritone voices in perfect harmony carrying the songs across the waves.

'Artifact' takes a slightly darker turn, drawing similarities to 'No Voodoo' from their debut, this time with nautical connotations of secrets buried in the sand, before the jazzy keys of upbeat number 'Ferus Gallery', bringing back the positive vibes. 'Recurring' sags a little, sounding like an Allah-Las song that just couldn't be bothered, with the bleary notion of 'soul searching' carrying the luckily rather short song away before it overstays its welcome too much. Thankfully 'Nothing to Hide' follows it, one of my favourite ever songs by the band. It's so breezy, a little stoner ditty to sing when you're alone. Michaud croons "spent all day trying to cover my tracks, lost my way when I fell off the map," reflecting by himself. It plods along at a steady pace and doesn't stray far at all, but for me it epitomises the Allah-Las. They couldn't be from anywhere other than Los Angeles; "sun-soaked" might be a term overused by writers, but their songs truly are.

'Buffalo Nickel' contains some stunning backing vocals and the signature harmonies that I referred to earlier shine here in all their glory. Plus the simple but memorable guitar breaks are fantastic and work well in splitting up the song, linking the verses and choruses brilliantly. Full of bass and bold in statement, they are an example of how the Allah-Las write brilliant string sections that only appear for a brief time: they never let their short and sweet riffs get stale. 'Follow You Down' sounds like it could have been a Brian Jonestown Massacre tune, evoking their song 'Nevertheless' with it's repetitive guitar strokes and wandering bassline. '501-415' is a joyful little song that sees the album coming close to it's final destination, almost Bob Dylan-like in it's pace and vocal delivery, like a slightly shorter and less frantic 'Subterranean Homesick Blues'.

The second half of Worship The Sun is weaker than the first, it has to be said. And that could just be because the first eight songs (minus 'Recurring') are so damn good. 'Better Than Mine' is a slight oddity, a country and western infused song that has to be admired for its playfulness, but it doesn't hit its target and is ultimately forgettable. 'Yemeni Jade' stands out as a latter track though, an instrumental piece that, for me, channels the Doors. It doesn't necessarily sound like something they would have played, but it feels like something that Jim Morrison would have been proud to sing his poetry over. It paints a beautiful picture of California, somewhere that I am yet to visit, and envisions that sense of mystery I get when thinking about the place. 'Yemeni Jade' oozes with beautiful '60s youth and freedom. It is easily one of the most special moments on Worship The Sun, understated and gorgeous.

The title track is relaxing, the perfect beachside jam, and it really makes you envy these young men, working in a record shop and spending their time surfing and making such great music. There is a sense of magic to it, for somebody like me who listens to it sat in my bedroom in rainy Manchester. The source seems a million miles away, but when I finally visit California, and go down to Venice Beach, maybe I will file the Allah-Las next to the Doors on my L.A. seaside playlist.

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