Heat Leisure are something of an enigma; a wonderful porthole to the sea of a neo-psychedelic era that is yet to be charted. The simplest and most fitting way to deconstruct the group is to breakdown their eclectic list of their members. This is a collaborative art group comprised of Beach House's Steve Strohmeier, Robert J. Otten III, a trio of brothers from Virginia's trio Pontiak and Greg Fox and Alexandra Drewchin of Guardian Alien. The project began with a short film entitled Heat Leisure I & II and continues with a equally ambitious freshmen record here with the aptly-named III & IV.

The record's starting point is a seven-minute monologue that flirts with the questionable facets of "fucking fearless" baby-boomer life. Read by sixties' pioneer and Grateful Dead aficionado Ken Babbs, this serves as more of an atmosphere establishing introduction than a prerequisite to understand the aspirations of the collection. It does, however, work as a flavoursome opening to the domineeringly physical and equally substantial musical debut that follows. "Jesus loves me this I know, for the voices tell me so" - fittingly begins Babbs' diatribe against the belligerent on side III. With a strong rhythmical flow, he draws from a colourful and colloquial vernacular and, peculiarly enough; this sows uncomfortable seeds of calm, only to be disturbed by the distant marauding textures.

A hallmark of III & IV would be its apt ability to delicately sway between common and off-kilter. For example, the piece is centralised around the "value of the spirit" - being comfortable with oneself in nature - and, though we're challenged with circles of primal rhythms and yearning calls as IV travels at a canter, we never lose breath. The lungs tighten and the heart flitters, but Drewchin's vocal is the damp flannel on your forehead. She may be Nurse Ratched yet though.

Heat Leisure show a sensitivity in sound that you'll seldom find. As the group operate in such a minute proximity, they perform keyhole surgery in terms of texture. There are minutes of spiralling sections that seem to sag a little in the middle but offer a wonderful perspective as they slowly but surely twist and mature. The details here are telling but never overdone.

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