Someone introduced the High Violets to me as a mix of the Cocteau Twins and shoegazer bands like Lush. This strikes me as somewhat redundant; there may be differences in volume and style, but it always seemed like shoegazer owed a certain debt to the Cocteau Twins anyways, so it’s no great stretch to imagine the two put together and pureed into some new, frothy concoction. And that’s exactly what you get from the High Violets: swirling, paper-thin layers of guitars, ethereal female vocals courtesy of Kaitlyn ni Donovan, and an overall atmosphere that recalls the dreamier side of early-90s shoegazer.

So are the High Violets a throwback band? Well, my sense of perspective is pretty shot when it comes to music history; stuff from the late 90s sounds just as good to me today as it did when it first came out, so how can I be a reliable judge of whether the High Violets bring anything new to the table? I will say this, though; the decade and a half since the likes of Slowdive and My Bloody Valentine have brought a wealth of new recording technologies, such that it’s easier than ever to get a decent sound with relatively little cash. Partially because of that, and partially because of stylistic choices the High Violets have made I’m sure, the tracks I’ve heard off To Where You Are recall the shoegazer aesthetic without falling into the occasionally murky production of the earlier years. Donovan’s vocals are crystal clear, and the guitars sparkle with life instead of fading into the aether. It’s a lot easier to appreciate To Where You Are as just a bunch of dream-pop songs; you don’t have to be a big shoegazer fan to appreciate songs like “Chinese Letter.”

Of course, it certainly helps some if you are. And I am, so of course I’ve made a point to pick up To Where You Are…