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I can't quite remember the last time the name of a new band threw me for a loop in quite the same way Twin Peaks' has. It's not just that they've been so brazenly unoriginal as to lift their moniker from the title of an iconic TV series - perhaps they'll be followed, sooner than later, by The Mad Men or The Desperate Housewives - it's that this particular series has been cited by a countless number of bands as an influence on their work, largely thanks to Angelo Badalamenti's evocative score. Perhaps the Chicago outfit are merely poking fun at that fact, but if not, it's about as subtle as naming yourself Pet Sounds or Exile on Main Street.

Critics of the group's sound will likely draw parallels between the lack of imagination in their name and the dearth of originality on this sophomore LP, Wild Onion. Sure, it plays like a paean to their lo-fi pop influences, but that's a statement true of plenty of young bands in 2014; the real acid test is just how well they've managed to blend said cues and, in the process, put their own stamp on them. If you're going to draw some kind of critical comparison in relation the band's name, in fact, the one you should be making with Wild Onion is between the theme of duality that permeated pretty much every aspect of Twin Peaks' storyline and the fact that this album plays like two EPs that have been spliced together; there's spiky, often aggressive pop, and then lovelorn, low-key reflection, too.

Opener 'I Found a New Way' certainly falls into the former camp, with its howled vocals and jaunty, repetitive riff; imagine a psych-tinged Replacements number and you're halfway there. In fact, that psychedelic slant to the album's sound is pretty prevalent throughout the noisier cuts; you can hear it in the reverb on 'Strawberry Smoothie', and on 'Fade Away', there's a furious, almost surf-like quality to the guitar that comes over like a more belligerent take on one of Brian Wilson's rockier efforts.

There's an element of that to the record's softer moments, too; 'Mirror of Time', for instance, is all blissed-out melodies underscored by guitars that are perhaps just a little bit too rough around the edges to truly jangle. 'Ordinary People', meanwhile, sees the group on perhaps the most delicate form of their short career to date; it's probably the standout moment on Wild Onion, too, fading in so fuzzily that it sounds is if it's barely there, but by the time the hazy vocals and distorted spoken-word sample enter the fray late on, you realise that it's a for more cleverly-spun pop song than it initially seems.

It serves as quite a neat metaphor for what Twin Peaks have really come to represent on their first two albums; they take obvious influences and inject a little bit of their own weirdness. There's plenty of energy, too, and given that they're currently so short in the tooth - none of the individual members are far past twenty - they've plenty of time ahead of them to meld the two sides of their songwriting a little more neatly than they have on Wild Onion; there's some great individual tracks here, but they need their next full-length to be less Jekyll and Hyde and more Laura Palmer and Maddy Ferguson.

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