Last fall I was a bit over my head with work and let a couple of amazing albums slide, only to rediscover them a couple of months later. The Lemon Twigs’ bright debut was one of those brilliant releases, a fact unmistakably proved by the amount of times I listened to it while slapping myself in the face for having missed that press release. Later in the year whenever I was asked what my favourite album of 2016 was — to which I always answered Yak’s Alas Salvation — I kept stressing that two other albums had been serious contenders to the title: La Femme’s Mystère and the Lemon Twigs’ Do Hollywood.

In an constantly moving, ever-demanding music industry where newcomers — no matter how talented they might be — can’t afford to stay out of the release spotlight for too long, the Brothers of Destruction EP proves to be the perfect solution for keeping the Lemon Twigs’ listening audiences properly excited while cleverly reminding us that even the duo’s second-best songs are pure gold; after all, the six-track EP is constituted in its entirety by tracks from the Do Hollywood sessions that didn’t make the album’s final cut.

A short intro sets the mood, a somewhat weird move given that this is not even a proper album. Slightly reminiscent of an old fanfare at the local fair, it probably comes from a snippet throwaway from ‘Why Didn’t You Say That?’ since it not only precedes the track but also possesses a similar modular riff. The playfully vintage-sounding ‘Why Didn’t You Say That?’ is sweet and brilliant enough to be mistaken for top-quality child’s play, but then again I bet most of us often forget the Lemon Twigs are not even old enough to legally drink in the United States. Addictive and instantly memorable, the track’s flawless production highlights its discreet yet sensational bass line.

‘So Fine’ brings forward a somewhat Brit-infused, Old World-coronated state of mind imploding in a quasi Kinks-like raw realism — if Ray Davies had ever gone full glam glitter — subsequently flowing into the sweetness that is ‘Beautiful’, a finely crafted, stripped-down melody whose cadence keeps turning the unexpected progression corners that constitute one of the D’Addario brothers’ main songwriting signatures. Also, remember when Brian Wilson unexpectedly tweeted about them? I blame it on gems like the not-so-subtle Pet Sounding coda of this song.

And as we are thrown head first into the multicoloured rollerskating rink that is ‘Night Time’, the transatlantic tandem of influences is now adequately wearing Elton John’s glitter platforms but also — and maybe randomly so — Dolly Parton’s and Kenny Rodgers’ pastel-coloured fringed suits as they exchange glances while purring ‘Islands in the Stream’. Closer ‘Light and Love’ is early, pre-glam T. Rex — I’d say almost John’s Children — as a vision of a young Bolan finding his voice emerges as briefly yet vividly as an acid flashback: weird, cosmic, exotic, mutable, transcendental, this is probably one of the most experimental tracks of the EP.

Welcome to the amazing world that is the Lemon Twigs’ dustbin; it puts many artists’ fully thought-about releases to shame. Unleash that second album pronto, kids!