The SightsThe SightsReview

In a shameless retro hurrah, The Sights have released their glittering third album, self-titled, splendid and impossible to ignore for all the best, most exciting reasons.

"Circus" kicks it all off, laden with sexy, distorted vocals from Eddie Baranek, the only survivor from the band's original line up. Robert Emmett's Hammond organ married up with Mike Trombey's electrifying skin-bashing creates a sound reminiscent of acid jazzers Corduroy, but despite their obvious influences and unabashed mod sympathies, The Sights still offer fresh, untold thrills.

The album oozes eye-watering sexuality from every psych rock pore: "Will I Be True" will practically have you reaching for the post-coital cigarette within seconds. We are hauled back from this intoxicating haze every so often with a flourish of poetic sobriety, displayed to wistful perfection in "Scratch My Name In Sin".

But any thoughts of repentance are soon ditched, thank God, with tracks such as "Frozen Nose" irreverent, sleazy and the sort of thing that would have any self-respecting beatnik nodding their head.

"Backseat", bouncy and twinkling in all its vocally double-tracked glory, is a veritable tardis ride back to that truly, dare I say it, groovy part of the 60s that belonged to bands such as The Small Faces and The Who.

"Good Way To Die" is a bit of a steal from The Beatles anguish-laden "I Want You" from Abbey Road, complete with Lennon-esque harmonies and rather familiar organ bashing. Shall we let them off? I think so, especially as it transforms into the radiant Faces-like classic, "Stay With Me": a perfect encapsulation of rock 'n' roll raunchiness. The Sights don't bring anything new to the table, but if it ain't broke...

The Sights conjure a technicolour orgy of sonic perfection that never takes itself seriously. This uplifting album shows that, despite being dismantled and then rebuilt, the band sound stronger than ever.