Ganglians, the Sacremento sometimes four-piece, sometimes one-piece are seemingly in hock both to the 1960s and to the kind of pharmaceutical appetites familiar from that decade of excess. With an accompanying press release describing their music as “codeine balladry” and “acid pop”, and an album title that uses a sixties term – “Head” – for those who sought druggy experimentation and release, the references seem clear enough.

The music that they produce, indeed, often seems to rise almost organically from a narcotic haze. Tracks like ‘Valient Brave’ and ‘Try To Understand’ can seem overlong and indulgent, particularly the former with its “heavy, maaan” vibe. Even the straightforward, outwardly uncomplicated and enjoyable tracks – ‘Lost Words’, ‘To June’ with its gentle country music feel, ‘Cryin’ Smoke’ – feature a twist, a quirk or an unexpected noise (found-sounds like crickets chirping, birds tweeting, someone whistling as if in the distance) that contributes to a sense of slight, off-kilter oddness.

Some tracks sound so close to other styles or bands that you are left wondering whether the intent was deliberate parody. The most obvious touchstone here is, as with so many bands around at the moment – sigh – The Beach Boys, found all over the vocals and harmonies on ‘Voodoo’, ‘Try To Understand’ and ‘Make It Up’. A more generic early 1960s US band naivety (faux naivety, here?) is accurately mimicked on the clever ‘Candy Girl’ (but once again subverted with some unsettling noises in the background), while ‘Valient Brave’ and ‘100 Years’ – less enjoyably – sound like The Doors at their most self-important and portentous.

1960s type hipster language is also judiciously deployed, from ‘Cryin’ Smoke’ with it’s “alright!” exclamations to the coy “taking trips” double-entendre in ‘Lost Words’ and the “moonshadow” references in ‘The Void’.

The vocals, when not soaring in Wilson-brothers-esque harmonic heights, often have a curiously disengaged feel to them (‘Candy Girl’, ‘Modern African Queen’). This contributes to the strangely distant mood on much of this album – you never feel much urgency or immediacy, or as if this shifting ill-defined world is one that you might ever claim as your own. Somehow, despite the smattering of pretty tunes and interesting textures nothing really quite sticks.

An atmospheric album then, and undoubtedly one evocative of an era and a state of mind but not - not quite – possessed of that extra something to make this a loveable, engrossing or must-listen-on-constant-repeat summer classic.