nitially released in their native America last year, An Amazing Dream just dropped in England, and though the Asteroid #4’s earlier efforts looked to British Invasion bands for inspiration, the heart of this album (their fourth) stays stateside. Sure, there are elements of Englishness to be found here (especially in the swirling effects laden lead guitar) but, overall, Laurel Canyon is more a jumping point than London town.

Since starting out in the mid-‘90s, the Asteroid #4 has moved from psychedelic soundscapes (Introducing the Asteroid No. 4), to Elephant 6 inspired pop (King Richard's Collectibles) to a much maligned and miscalculated attempt at cosmic Americana (2004’s Honeyspot). Despite the artistic hiccup, they’re one of the few bands featured on the Sounds of Psychedelphia compilation still in existence.

The archaic sounding An Amazing Dream won’t alter the band’s current position on the fringes of the Philly scene. Released by Rainbow Quartz (home to a whole host of ‘60s revivalists), the album sounds tinny and watered down. It’s a shame: several songs show significant promise; instead of reined in and held back, they should have been given room to roam.

Several tracks are based around acoustic guitar, accented by atmospherics rather than their aerial assaults of old. Only “Here We Go” harks back to their older albums, as does the closing “Belong.” Both are built on soaring guitars, scrape-the-sky vocals, and bustling melodies. Missing though, and maybe it’s my ears, is any sign of bass, meaning songs ponder rather than propel. Only “Ask Me About Pittsburgh” chugs along, due, in part, to its galloping acoustic refrain rather than a lolloping bass line. That it’s the best song on the album, gives some credence to the fact that maybe they don’t need prominent bass or heavy-handed drums.

Though the band implicitly plants their influences firmly upon their paisley shirts with a competent cover of ‘80s Australian band, The Church (“To Be in Your Eyes”), they do mix things up a little. “Outside” manages to meld elements from all their transient phases, “Shoot the Stars” harks back to their brief Americana amour, and “Into the Meadow” meshes jangle pop with downbeat vocals and a murderous Countrypolitan tale (“Into the meadow I chased my baby with a rifle / Into the meadow I chased my baby because she hurt me.”)

Whilst never scaling the giddy Kinks-like highs of fellow Philadelphians and former tour mates, the Lilys (whose protagonist Kurt Heasley produced their second album), or the unfathomable lows of the Brian Jonestown Massacre (who they also toured with, and whose Eastern mysticism they channel on the ethereal “The Shepard”), An Amazing Dream manages to eek out just enough melody to make it a respectable, if not remarkable, release.