So, I have to say. There are several things that are near and dear to my heart. They include, but are not limited to, arguing about politics, small furry animals, videos games, shoegaze, and ensemble musical groups. A Sunny Day In Glasgow may have nothing to do with squirrels, Barack Obama, or the latest Final Fantasy game, but, they do shoegaze and ensemble well. Nitetime Rainbows, released on March 2nd, 2010, by Notenuf Records does justice to these two traits of A Sunny Day. I had never heard of the group before reviewing the album, but they’ve hit a lot of the indie music blogs so I’ll go ahead and give them the REAX bump too. Even Pitchfork gave them an 8.8. Hell, they have a Wikipedia page. Have you ever tried to write a Wikipedia page for a non-mainstream or “non-significant” band? I have. That shit gets pulled in under twenty minutes every time. So they must have some sort of street cred. Right?

The album isn’t good for any particular reason, tt just possesses an overall sort of goodness. The album finds itself somewhere in between Autolux? and Eluvium? on the shoegaze scale. It has Eluvium’s mellow lyrics and atmospheric melodies. This is tempered with the noisy sort of music making you can find on an Autolux album. Annie Fredrickson and Jen Goma, the vocalists, harmonize their way through the album. Cello, bass, keyboards, and drums all support, and at sometimes drone out, the two singers creating and sustaining that dream pop effect that this type of music is so well known for. The EP is short, but it does maintain a musical theme with the two leading tracks “Nitetime Rainbows” and “Daytime Rainbows”. They work to build an energy that is perfect walking, bike riding, or driving music.

If you like an album that is half remixes then you won’t care too much that the last three songs are remixes of other work by the group. The songs are still good if you haven’t heard them or you like that sort of thing. Typically, I don’t. In this case, the remixes are of the two titular song, “Nitettime Rainbows”, are a strong departure from the track’s original format. So, if you dig the twentieth century version of easy listening, get this album. If not, get it any way. You’ll still like it.