The best literal translation of Tanukichan I could come up with from a cursory web search is ‘Little Miss Raccoon Dog’. The Japanese suffix ‘chan’ apparently can mean, alternately, ‘Little’, ‘Miss/Mr’, and ‘cute’, while Tanuki also refers to a kitschy kind of statue representing a mythical animal known to cause mischief, or perhaps bring bad luck. Cute is not the first word that occurs when digging down into Hannah Van Loon’s debut solo record – a woozy journey along the blazing West Coast.

The nomenclature is a call back to Van Loon’s heritage, although shoegaze is more of an obvious influence on the resulting album from the Oakland-raised musician. Sundays mostly delights in taking straightforward indie pop song structures and stretching them like molten plastic. Her vocal is a multi-tracked whisper, the guitars chugging and reeling their way through every song.

Van Loon’s music also carries echoes of J-Pop in the pointy, off-beat vocal melodies of songs like ‘Perfect’, which could be an unreleased Joy Division track - also drawing liberally on My Bloody Valentine in its wonky, heavily sustained guitar refrains. On ‘Huned Bandz’ it all goes exceedingly indie-stoner, recalling the over-cranked simplicity of Sparklehorse.

Rhythms are mostly restricted to simply treated drum machine, other than on the very pleasant ‘This Time’. The reliance on bleepy drum machines can be trying at times, but seems to be included to allow the guitar and vocals to bear the weight of each track. On the aforementioned ‘Perfect’ it’s not an issue – the comparison to Joy Division means the template is bound to work. But with the unchanging, breathy drawl of Van Loon over the top of each track, the result can sometimes drag.

Sundays may not be a collection that will live long in the memory, but when it rises out of its spiritual funk there’s a glimpse of something sparkling in amongst the fuzz and breathy introspection. It’s certainly not a dog of an album. But perhaps it’s not as cute, or as diverting, as a Tanuki.