You’re not supposed to judge a book by its cover, but the artwork of Beachwood Sparks’ second album Once We Were Trees offers a few strong hints to its swirling psychedelic folk contents. The pastoral shades of the group portrait are uncannily reminiscent of Love’s 24 carat classic Forever Changes, harking back to the rural California that spawned the work of John Steinback and John Philips. Despite the chaotic rattle and hum of contemporary America, it represents the resilience of nature and the survival of positive optimism in the cold face of adversity.

The latest Rough Trade signings forged their sonic canvas in J. Mascis’ studio in Northampton.

“It was the perfect setting to record because we just set up in his front room and played away,” reveals bass player Brent Rademaker, a former member of Los Angeles indie popsters Further. “We’ve done the state of the art, digital studio thing before, and much as it has its advantages it didn’t really suit us. J’s place was perfect, and having Thom Monahan (Pernice Brothers) over to record was ideal. He just has so much experience of capturing a recording organically I don’t think it could have possibly been any better.”

Mike Deming of the Lilly’s who oversaw their eponymous debut partially mixed the project, who Brent describes as a “lovely and crazy guy.” In addition to an original song cycle of fourteen lonesome lullabies, the Sparks tackled the Sade classic ‘By Your Side’. “We’ve always loved the lyrics of that song, and at the time of recording they seemed even more apt,” Brent explains. “Its always difficult to do justice to a voice like hers, but I think we’ve just done our own reading if you like.”

Consistent to the spirit of doing a good cover version, Brent and company succeed in making the number their own.

Rademaker is thrilled to be joining The Strokes and Moldy Peaches as part of the new American vanguard in the rejuvenated Rough Trade house of alternative legends.

“It has never ceased to be a fantastic label, and as a young record collector I loved all their stuff. I don’t really think about it too much aside from being associated with something that is synonymous with great music.”

As it is rather difficult to pick up their Sub Pop debut this side of the Atlantic, it is the perfect global outlet for the Beachwood Sparks’ brand of idiosyncratic Americana. Their muse is not the stuff of straight off the shelf cool or borrowed attitude, but comes from a timeless and haunted place that seldom informs contemporary music. As they put it themselves: “Take a trip to a Southern California that even most Southern Californians have forgotten exists; one where your picnic forks and not your friends are made of plastic.”