Art can generally be put into two camps: that which provides pure escapism, and that which serves to intensify the consumer's reality. By way of their own admission, LA's Milo Greene are explicitly concerned with the latter. Their self-described "Cinematic Pop" is a polished, multifarious affair that is dripping with self-assurance. That their eponymous, debut release is accompanied by a short film displays that this quintet are operating on a slightly higher-budgeted plain that most couple-year-old garage bands. But for all the lush reverberation and stellar harmonies to be found here, this is something slightly suspect about the whole operation; something that suggests this is not quite the labour-of-love produced by twenty-somethings bent on putting their musical thoughts to tape.

Opener 'What's the Matter' is mostly representative of what else we are going to find here. A dramatic flurry of screeching violins and dissonant strings leads into something akin to a sedated Bruno Mars fronting a collage of minimalistic guitars and dramatic strings. The instrumentation, whilst flawlessly produced and inoffensive, comes across as simply a vehicle for the vocal talent as opposed to being listenable for its own merits. But, to give due credit, the vocal performances here are certainly impressive. The lack of any focal vocalist is, initially, not a huge problem - the singular voice simply becomes many.

'Silent Way' is a slow, nostalgic number that effortlessly carries a single hook despite being compromised of many harmonies. 'Don't Give Up Me' is equally smooth, if perhaps too similar in its formula. But by the time we reach 'Cutty Love' we realise that Milo Greene's biggest strengths are starting to sound tired - the harmonies are becoming overplayed, and the lack of any progressive song structure results in each next song sounding a little more like the last.

Once our attention shifts to the lyrics we don't find anything particularly redeeming. Lines such as "All my dreams, my dear, they are of you" and "I'll go wherever you go" are liable to result in a sentimentality-induced coma, and perhaps would be forgivable were they not so thrust into the forefront of the music. The largest contradiction here lays in the fact that for all the romance and nostalgia spread out across the record, there lays no feeling of personal investment whatsoever - any emotion seems to have been wrung out in the pursuit of sonic perfection. There are glimmers of humanity here and there - found when the grandiosity is reigned in.

Standout track '1957' is refreshing in its use of two voices rather than eight or so. The climax of 'Perfectly Aligned' is the closest the group comes to realising its euphoric ambitions and, for a moment, it could almost be life-affirming. But the potential of moments like these is dampened by the groups insistence on sounding larger-than-life at all times.

If this collection of tracks fails to maintain any momentum as an auditory experience, then perhaps we should see it instead as a soundtrack to the accompanying film - the Chad Huff directed Moddison. Unfortunately the group do not fare any better here - there is a total disconnect between the visuals and the music. The film itself is a predictable story of a tortured artist, a "Manic Pixie Dream Girl", menthol-cigarette butts, beards and road trips. But wherein the film attempts to build itself upon the extremities of emotion, the music of Milo Greene simply lacks the dynamics to accompany them. It may be a dirty word, but between the excessive shots of typewriters, ill-fitting beanie-caps and a wardrobe seemingly drawn from the Derelicte world of fashion, there's something rather wannabe-hipster about it all.

There are a few things that should be applauded here - the whole project is both easy on the ears and eyes, and the effort of providing more than a standard auditory experience is certainly respectable. But it feels as though Milo Greene are trying to produce something artistic without the necessary emotional stimulus to do so. To place them in their cinematic context, they are the musical equivalent of many a Hollywood production: a big budget, handsome cast and potential to make a real statement, but ultimately unsatisfying and somewhat vapid. After being blessed with voices so easy to listen to, we can only hope that they some day find something more intriguing to say.