I just want to start listing albums I'd rather listen to than this one. I realize that's a pretty damning start to a review, particularly one that isn't getting such a bad numerical rating. The fact is that Terry Miles' second record as Ashley Park, The American Scene, has quite a few pretty, lazy pop songs. I even felt more inclined towards a higher rating on my first couple listens, indulging in some of the album's sweetest melodies. After all, there's still something to be said for simple, effective production and somewhat catchy tunes. And it's admirable to see a guy like Miles take on record-making in an almost completely DIY fashion, playing pretty much all of the instruments and doing the mixing and mastering himself, not to mention getting signed. (It's jealousy, really.)

All of this makes me want to recommend the guy. But in the end, I just couldn't-- could not, I tell you-- shake the undeniable fact that each and every song on this record reminds me of a pretty carbon copy of something that already exists, something that probably influenced this recording, or something that's simply better. As much as I usually try to avoid it, the only way I feel I can describe any of the songs or techniques on The American Scene is through comparisons to other artists and records. So let's do it.

Yo La Tengo: All the Yo La Tengo essence on The American Scene comes straight from what many people consider their definitive record, 1997's I Can Hear the Heart Beating as One. Clean, sparse Americana electric guitar; simple organ chords; gently brushed drums, or simple drum machine; and Ira Kaplan's softly expressive vocals all combine for a formula that's almost exactly replicated on a few tracks here, like "Around the World" or "Return to Me." The YLT influence is readily apparent in the record's first half, and then seemingly forgotten until the closer, "I Know I Love You," in which case, Miles could have tacked on an outtake from the I Can Hear the Heart sessions for the precise effect. It's pitch perfect. I would say it has to be heard to be believed, but hopefully you won't bother.

Elephant 6: This has more to do with arrangements, melodies, and lyrics than vocal imitation. The opener, "The Old Masquerade," is a happy little acoustic ditty that features a more twee-ish Miles crooning: "They'll fandango waltz/ And cauterize your remains/ Until this old world/ Can be happy again." These lines are sung before a theremin-cum-kazoo hums along with a happy organ tone for a wordless refrain, easily found on a more straightforward Olivia Tremor Control single or an older Of Montreal track. Later, on "The Great Divide," Miles turns out a simple Apples-esque pop progression and the opening lines: "We've got style, we can't lose/ We've got funny little shoes." The cloying lyrics eventually give way to a beautiful bridge melody, probably the best moment on the record, but even there, it's more OTC mimicry. Even the well-done crossfading segue into the next track recalls a less intricate Black Foliage interlude.

Built to Spill: This one isn't so prevalent, but a couple of the sappier tracks are reminiscent of the ballads on Ancient Melodies of the Future. "Re-entry Day" and "Little Dogs" both have vocal melodies that a Doug Martsch fan might enjoy, but already enjoy more coming from Martsch himself. These tracks also prominently feature that slide guitar sound that Ancient Melodies supporters kill for. Granted, The American Scene came out first, but like I said, there's not much of a point to listen here when it's done a lot better elsewhere. Besides, Built to Spill also brings us to our final comparison...

Neil Young: Young seems to be the most obvious, tainting almost every song on The American Scene with his wide influence. Neil can be found in the slow, hypnotic minor-key soft-rock of "Rocket on the Highway," but he's more on the folk side with the shaky vocal and labored strumming on "The Last Day in the Life of Grand," the brief, orchestrally augmented title track, and, naturally, Miles's note-for-note cover of "Tell Me Why" from Young's After the Gold Rush. By this point, Ashley Park is basically shameless hero worship. I guess there's a place for that. But does it have to cost $12?

-Spencer Owen