Imagine a late ’60s, Sgt. Peppers era Beatles with Flaming Lips-esque compression and ambience. Add to that a Southwestern alt-country style, and what results is the spacious sound of Golden Boots. Some tracks sound like you’re trapped in a lead pipe at the bottom of the ocean, overwhelmed by eerie echoes and cold reverberations. Others force all tension to melt away, with warm organ fills and full-bodied vocal harmonies. Stimulating such obscure sensations are the tonally diverse instrumentations. From overdriven, chaotic and mish-mashed guitar solos to laser-beaming synth effects, the Tucson based group has openly embraced the essence of musical experimentation. In particular, what sets Winter of our Discotheque apart from other alternative acts are the dynamics of the drums. What typically would be simple, rhythmic arrangements are transformed into a vast assortment of thuds, crashes, pops and echoes. Be it below the fuzzed out guitar riff of ‘Country Bat High II’ or the Vampire Weekend guitar twangs of ‘Black and Blue,’ the percussion itself not only creates a solid foundation, but continues to build upwards, developing into an almost melodic entity. While most of Golden Boots’ recognition is focused around the west coast, Winter of our Discotheque should prove to others that experimentation has served them well.

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