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It would seem that, every year, a barrage of groups or artist aim to capture the sauntering, carefree jangle of summertime. Real Estate, Beach Fossils, Cut Off Your Hands, Teen Daze: the list of bands that have sought to aurally recreate the magnificence of a sunset on the beach is far too long to recall entirely, but fans of this subgenre of music have certainly had no shortage of artists from which to choose. With Cotillon, the project of Los Angeles-based songwriter Jordan Corso, another band can be added to this seemingly endless Rolodex of dreamy pop bands. But while Cotillon hardly breaks new ground and oftentimes loses its footing, their debut, self-titled release has more than a few songs ideal for a summertime commute.

While the record does not exactly start on a high point, as the first track 'Gloom' is one of the least inspired on the album, 'Call Me Up,' the second song, gets the ball rolling. A rippling and painfully catchy '60s-influenced guitar riff is buoyed by Corso's lyricism and, most importantly, an excellently deployed saxophone as the track slinks along, like an aimless drive down the Pacific Coast Highway. This mental romantic imagery of being in a vehicle bound for nowhere in particular, whether purposefully conjured by Corso or imagined on the part of this listener, is a pleasantly recurring component to the record.

Cotillon is at its best when Corso sticks closest to his sixties- and summer-inspired musical palette and its weakest when he strays. For instance, the album's third track, 'Asteroid', finds itself improving toward the middle as the guitars begin to drip with reverb, but it is otherwise hindered by an uninspired vocal performance from Corso and an out of place scuzzed-up guitar featured throughout the beginning and end. But then, the album jumps quickly back to the more tender moments that it seems to know are its best.

It would seem that Corso and his producer, Chet "JR" White from the eternally-terrific and much-missed GIRLS, were unsure of exactly which direction was right for Cotillon. As a result, the record feels uneven and more like a patchwork of ideas for what the band could have done. But thankfully, not all is lost as Corso proves that he has a tremendous amount of skill in invoking a palpable sensation of the summer, which is never an ability to be underestimated. When Cotillon hits its mark, it hits dead on, but when it misses, it misses wide. But tracks such as 'Before', 'Left Bank' and especially 'Call Me Up' prove that Jordan Corso could be on the precipice of putting out one hell of a summer record.

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