Pop/Rock - It's only fitting that the cover of The Postmarks' fab new album Memoirs at the End of the World has that classic long-player look: 60's graphics and style, even the "worn" areas where a vinyl 12" outline had appeared. For the South Florida trio nothing can be too 60's trippy chic, too retro or too, well, fringe, naugahyde and go-go boots -- and their music plays like the soundtracks to some lost 60's day-glo pop meets spaghetti western films. All of this would be a mindless camp exercise if it weren't for the fact that frontwoman and songwriter Tim Yehezkely (yes, Tim) not only delivers some ultra-worthy songs, she delivers them -- amid stellar production backing -- with a lovely voice that practically drips with sultry, continental nonchalance.

The Postmarks certainly aren't the first to combine flashback 60's and 70's influence with a sleek and cheeky contemporary outlook (just ask Duffy or Mark Ronson), but on Memoirs the production sounds like a labor of love -- and meticulous craftsmanship. Touches of reggae and 70's soul poke through now and then as well as an indescribably delicious ambience that seems to permeate every track. Songs such as first single "Jetsetter" and "All You Ever Wanted" shimmy and shake with nary a pretentious move, comfortable in their own seductive skin-tight jeans and striped French tops. But Memoirs also brushes up against some shadowy lyrical areas -- the "darker territories" the band says that came from a more "New York" feel -- and a few songs, like the cinematic closer "Gone", have more epic, stretched out aspects that smudge with welcome grit.

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