What fascinates me most about You Can Have What You Want is that Papercuts seems to have created it so effortlessly, though with great attention to detail. Yes, Jason Quever has taken into consideration many of the more cutting edge trends in hip indie music, yet nothing seems even slightly forced. The album abounds with dream-pop, shoegaze, and ‘60s pop influences, but wears them ever so slightly, allowing the songs to stand on their own as fresh interpretations of those genres.
The music revels in its technical fundamentals, as there is little flash and pizzazz on display. Nevertheless, these arrangements are composed with style and aplomb. Lush, ’60s organ tones are merged with a no-nonsense drummer, steadily plunking bass lines, ghostly reverberating vocals, and guitar-based melodies that are alternately heartbreaking and affirming.
There are some ambitious atmospherics at play here, especially on tracks like :Once We Walked In The Sunlight,” “Jet Plane,” and “Future Primitive.” The music calls to mind moody clouds banks filling a pre-dawn sky as a young couple lies upon a hillside watching light break over the horizon into a glorious morning. Sleepy would be an appropriate adjective to attach here, but I think that hazy might be more suitable, since these songs do give off the impression of peering through a slowly lifting fog to see what’s just down the road.
At times, I would go as far as to make the possibly tawdry allusion that the music of Papercuts represents what it’s like to hear classic pop music “chopped and screwed.” What I mean is this: though all of the familiar elements of the genre are present, they have been slowed down and blurred to create a somewhat otherworldly sound. To put it a different way, You Can Have What You Want is a blissful, just-shy-of-trippy record that would have fit in well as part of Michel Gondry’s The Science Of Sleep. Fans of Beach House, Grizzly Bear, Jana Hunter, and other like-minded style-blurrers will find much to like in the music of Papercuts.