Based firmly in the electronic world, You Think About It Too Much is a far cry from Scott Harwood's work in the shoegaze-y Ostrich Tuning, yet his previous project hangs over this one like a hazy spectre. Some songs manage to cut through on their own, like the catchy, kinetic and playful "Car Commercial," which opens the record with a poppy jab — the title poking fun at the song's immediate accessibility. "Taiga" veers off into more familiar territory, conjuring a kaleidoscopic woozy bliss while still maintaining the same strong sense of melodicism that defines the record.
It's "He Says I'm An Island (I Won't Try And Find Him)" that Ostrich Tuning haunt most of all, as it's a reworking of their "A Descent Into The Maelstrom." Here it sounds as though the original's heavy guitar-driven melodies were interpreted by Suicide. This debut is a smart and hooky record, one that works effectively to establish Ken Park's dreamy sound as separate from, but still connected to, Harwood's larger body of work.
(Daps)It's "He Says I'm An Island (I Won't Try And Find Him)" that Ostrich Tuning haunt most of all, as it's a reworking of their "A Descent Into The Maelstrom." Here it sounds as though the original's heavy guitar-driven melodies were interpreted by Suicide. This debut is a smart and hooky record, one that works effectively to establish Ken Park's dreamy sound as separate from, but still connected to, Harwood's larger body of work.