Allowing too much time to lapse between your big internet splashdown and your first album proper is a dangerous game to play in 2011. You can easily slip from promising buzz band to forgotten blog-hype victims if you’re not careful. Austin’s Pure X, formerly Pure Ecstasy (that name was taken by a cover band), have let two years pass between their debut single and their new full length, Pleasure. During that time they rode above (or possibly below) the buzz game with aplomb. Perhaps the laid-back vibes their music exhibits hint at how they’ve made it work - I doubt they give a crap about their buzz.

Pure X started popping up on all the right blogs in late 2009, around the same time that “beach rock” and “hypnogogic pop” acts like Real Estate, Sun Araw, and Emeralds were getting a bulk of the attention in the indie-blog world. Pure X shares many of their same elements - an unhealthy dose of reverb on every instrument and the seemingly unbreakable patience to let a song see itself through to the end. Singer/guitarist Nate Grace lets his work unfold slowly, allowing what are essentially updated vintage rock jams, a la Buddy Holly or The Everly Brothers, become anthems for codeine addicts - the drug, not the band. Well, both perhaps.

Their first few tracks to gain notice, slowburners like "You’re In It Now," "DWLDWD" (Don’t Wanna Live Don’t Wanna Die), and "Easy," all came across as lo-fi for lack of better words. You could imagine they were the product of a one-man bedroom project. On Pleasure the lo-fi production is clearly deliberate. It’s by no means a departure, but it still feels like a huge step forward. On first listen, it’s hard to hear much difference between the early songs and those on Pleasure (older tunes like "Easy" and "Voices" appear on the album). Where the early songs often felt like washes of noise with a song hidden somewhere in the mix, the tracks on Pleasure are true headphone jams, finely tuned even in all their swirling fuzz and echo.

The mostly instrumental opener “Heavy Air” clearly sets the tone. Bass and drums softly keep the pace, allowing spaced-out guitars, and a few echoey howls from Grace, to glide over the top of the mix. From then on, every element, from the languid, reverb-drenched guitars to the syrupy bass lines, and Grace’s forlorn croon, all fall into place with ease. The entire album was recorded live with no overdubbing, leaving these songs as they should be, loose, heartfelt and never too precise, yet still finely produced; the clear sign of a band who has sowed their oats on the road for the past few years.

With new “it” bands popping up as quickly as you can say "8.0 please," it’s sometimes hard to be original. Pure X does what many good bands have to do in this age of information overload: boil down their disparate, or not so disparate, influences into something that comes across as fresh but familiar. Obvious influences include Jesus and Mary Chain, Ride, as well as southern crooners like Hank Williams, and the aforementioned Holly and Everlys, but among a litany of acts lifting from the past to try and make something new, no one is doing it better than Pure X right now. Pleasure is proof that two years is more than worth the wait.