One weekend in 1947, teenaged filmmaker, music video forefather, fledgling occultist, and eventual Mick Jagger collaborator Kenneth Anger shoots a short film of homoerotic surrealism called Fireworks in his parents’ empty house in Beverly Hills. The stated intention is to capture “the explosive pyrotechnics of a dream,” and it does so with ghostly brutality, distilling a potent, symbolically charged amalgam of desire, dread, violence, and the tentative trappings of magick that would occupy Anger (an Aleister Crowley acolyte) in later years.

Almost seventy years later, Dream All Over, the fourth full-length album by the Los Angeles rock and roll band Gun Outfit—and their first with Paradise of Bachelors—describes a comparable flickering and dimming of dreams, that moment when the lights go up, and the “temporary relief” of sleep’s “imaginary displays” dissolves into stark, deadening lucidity. The songs are suffused with a slyly cynical hangover/hangman’s humor that evokes, from the perspective of “a stranger / getting stranger still,” L.A.’s disorienting simulacrum kingdom of crawling pictures: “I looked familiar in a foreign land / I couldn’t speak, but I could understand / From another life I rode / Into a desert of my own / And when I put my blanket down / I’m going to dream all over” (“Legends of My Own”).

The band members, all of whom have made or worked on their own and others’ low-budget, homebrew art films in various capacities, draw from the syntax and systems of cinema, in two senses: the songs invoke imagistic memories and unfold like dreams unremembered upon waking, but they also rely on staunchly collaborative team processes. The unmistakable rhythm section of Daniel Swire (drums, percussion) and Adam Payne (bass, also of Residual Echoes) fuel Dylan and Carrie’s spacious, enmeshed guitar work with a corporeal throb, and all decisions are democratically decided. Friend and mentor Henry Barnes (Amps for Christ/Man Is the Bastard) plays three different homemade electric sitars on the record. Facundo Bermudez (Ty Segall, No Age, King Tuff) engineered and co-produced.

Although reared in the realm of hardcore punk aesthetics, these days Gun Outfit bears a greater sonic and songwriterly kinship to the likes of Lee Hazlewood or Blaze Foley than to anything released in the heyday of the SST label. But there is an unspoken understanding throughout their recordings, but pointedly so on Dream All Over, that punk rock is folk music, certainly as much as honky-tonk belongs to the American folk tradition. But the band somehow communicates this kinship by barely acknowledging the formal tropes of either genre.