LA band, Poolside, have essentially existed since 2005 as an off-shoot come side project of Filip Nikolic and Jeffrey Paradise. Their musical credits include LA band Ima Robot, whom Nikolic is the bassist, Guns 'n' Bombs, The Rapture, and Paradise's DJ alter ego, Jefrodisiac. With other projects taking priority, Poolside never released anything until 2011 with their debut EP, Do You Believe? They've released several mixtapes and singles including a notable remix of Matthew Dear's 'Her Fantasy'. With ever increasing regularity of production output it seems that Poolside is becoming the evermore eminent focus of the duo and Pacific Standard Time marks their first collaborative LP.

Considering that this project has been in the works for about seven years, the sixteen track line-up doesn't seem all that lengthy. They take their 'Daytime Disco' epithet through the mill but with mixed results. There are, of course, some tacky glints of disco cliché but that's to be expected and if you forgive this inevitability for long enough, you'll discover some interesting depths.

There's an underlying hiss of electronica detectable towards the end of 'Harvest Moon' and more notably on 'Slow Down' and 'Do You Believe'. It must be said, however, that almost everything is glistening with a nauseating sheen, and even their electronic ideas start to whiff a little. It's difficult to detect an emotional context to the LP, songs like 'Kiss You Forever' never elaborate on sentiments with the lyric serving as a functional carrier of the songs' aura: "I wanna kiss you forever, forever and a day" – as I said, a touch cliché. But is that Poolside's problem or disco in general?

Perhaps the point of disco is to be a mere vehicle for happiness and fun; and it must be said 'Kiss You Forever' is a lot of fun, if a touch shallow. There are interesting passages; breakdowns of rhythm which interpose rather predictable percussion; and varied layers of keyboard, guitar lines ('Just Fall In Love') and prominent bass ('Harvest Moon'). They all contribute to dreamy tangents which create a supposed euphoria which shimmies along for nine tracks flashing various glitter smothered genitalia in the process.

What the first nine tracks express is a linear representation of these artists, displaying every imaginable context that daytime disco can encapsulate. Trouble is you aren't left wanting more; there's little else to explore, never mind revisiting them again and again. What these nine tracks couldn't have achieved in five or less, I'm not sure, and it would have been a stronger if it left something to the imagination. The fake tan and chest hair becomes a little bludgeoning and simply detracts from the supposed intention of a fun record in the first place.

'Off My Mind' arrives, not before time, but as a complete surprise – it's almost inappropriate, or perhaps the previous nine tracks were. The fact that it takes forty-five minutes to reach perhaps says it all. The production is pared back to delicate simplicity, but more importantly, there's a shift in mood to a hint of melancholy. A new direction adds depth and gives Pacific Standard Time a human quality; for the first time you actually feel something other than just the need to boogie. It's a perfect example that a large portion of the tracks are over-complicated and that certain ideas need to be shaven (apologies) back to their roots.

Heartbreak doesn't sound like this; pain doesn't sound like this; and even love doesn't. There's very little emotional resonance, at least until the very end there isn't. The final track, 'Take Me Home', incorporates all of their interesting aspects; hints of melancholy, disco bass lines, electronic influences and, most importantly, no cliché. This track displays an intriguing insight into what Poolside could become, and the kind of affecting music that they could produce. It has a certain originality and individuality which could be attributed to Nikolic and Paradise exclusively. Their obvious love for disco does have a direction which makes them relevant and exciting with a soul we could recognise as human, it's just a shame it takes over an hour to get there.