With "Darling. It's Too Late", Guantanamo Baywatch sought to harness and manipulate the sparkling sounds from yesteryear, all while staying true to the tape hiss and rough takes of analog recording.

"We really wanted a mixtape compilation sound to the record," says Powell, and that approach can be heard in both the songwriting and the production.

According to Powell, each individual song was approached with all the amps and the EQs on the recording console zeroed out.

That meant that every song was recorded with a new template. The title track and lead single, "Too Late", perfectly captures this new aesthetic.

With Burger Records soul singer Curtis Harding contributing backing vocals and rounding out the classic Motown ballad vibe of the track, "Too Late" is an enormous departure from the trashy Mummies-esque ruckus of their earlier recordings.

Of course, the band hasn't completely abandoned the rowdy surf rock of their previous releases-Powell put the finishing touches on the album back at his Jungle Muscles Studio in Portland to keep that rough-hewn feel intact.

But even when he and his bandmates Chevelle Wiseman (bass) and Chris Scott (drums) tread on their familiar territory with songs like "Raunch Stomp" or their cover of Eddie & The Showmen's "Mr.

Rebel", there's a newfound clarity, punch, and swagger to their sound. Throughout the course of "Darling.

It's Too Late" the trio continues to fuck with various subgenres, from the dusty Western twang of "Corey Baum's Theme" to the straight-outta-Sun Studios rocker "Do What You Want."