Here’s a fun fact: we are currently as far from 2004 as 2004 was to 1986. My fellow Millennials are currently having an existential crisis as we process the fact that Napoleon Dynamite is as old now as Ferris Bueller’s Day Off was when the former film was released.

I bring up this terrifying reminder of our own mortality to give some perspective for just how long Jason Quever has been making music as Papercuts. Eighteen years is a long time for any project to remain active—for reference, the classic lineup of the Beatles only lasted eight years. You don’t attain that sort of longevity by jumping on bandwagons or chasing trends.

While his previous work has always had a fair bit of a 60s psychedelic tinge influencing its warbling dream pop, Past Life Regression borrows so much you might think he hasn’t heard any music released after 1971. It reminds me in ways of older MGMT albums or The Clientele, but only inasmuch as those projects also worshiped at the altar of classic psych-rock.

Jangling guitars, wavy synths and organs, bright bass lines (that are almost certainly played on a Hofner violin bass), and crisp drums fill every corner of the album, sounding all the world like someone threw The Kinks, Velvet Underground, and the Byrds into a sonic blender. There are some modern touches, like the shimmer effects on the guitars of opener “Lodger,” some sparkling synths, or the crystal-clear production that would have been nearly impossible with 60s equipment. But for the most part, this could easily pass for a forgotten 60s band that got forgotten under the flood of Beatlemania.

Quever sings over the psych-pop arrangements in a delicate croon that has a slightly British affectation to it, which doesn’t do anything to help anyone who guessed its era incorrectly. “I Want My Jacket Back,” with its sunshiny harmonies and harpsichord(!) lines could almost pass for a recently-unearthed track from The Zombies.

It’s not enough that this record sounds like the psych-pop masterpieces of yore. Its songwriting is up to snuff too. The melodies are wall-to-wall hooks, and I found myself humming along even on my first listen. From the rollicking drive of “Palm Sunday” to the orchestral pomp of “My Sympathies” to the warbling drone of “Hypnotist,” every track is positively delightful, dripping with a honey-rich sweetness that few records have delivered in a long time.

Past Life Regression is out April 1 on Slumberland Records.

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