perfect orchestrated pop masterpiece." O'Hagan responded to the Beach Boys comparisons that the album had drawn: "[Wilson] has been the biggest influence in my career to date. I was always shy [about] how much I liked him, but this time I decided to be blatant about it." He was also hesitant to be associated with the ork-pop movement, saying that the group's "music is a hybrid of stuff from the last 50, 20 or 30 years ... It's definitely about making music for tomorrow." O'Hagan recalled that "we had everybody knocking the door down saying, 'here take the money and make the [next] record.'" The follow-up to Gideon Gaye, Hawaii (1996), was released on Alpaca Park, and reached number 62 in the UK, again for a one-week stay. He described the work as a fusion between the music of the "post mid-European Stockhausen era" and the "really screwed up West Coast American sort of music, of the Wrecking Crew variety". It incorporated more electronic sounds than Gideon Gaye, while its lyrics loosely address themes of "nomadism, nostalgia, film and musical theatre, and the effects of colonialism". In the US, the album was issued with a 40-minute bonus CD containing material that was previously unreleased in that region. Dominic Murcott then joined the group on vibraphone and marimba. The High Llamas' American and British fanbase continued to grow. Cold and Bouncy (1998) pushed the band further into electronics. According to O'Hagan, it was named for electronica's "paradoxical" combination of "chill" or digital sounds and "boisterous" rhythms. It was accompanied by Lollo Rosso (1998), an album consisting of seven remixed Cold and Bouncy tracks created by Mouse on Mars, Cornelius, Schneider TM, Jim O'Rourke, Kid Loco, Stock, Hausen & Walkman, and the High Llamas. Snowbug (1999) featured Stereolab vocalists Lætitia Sadier and Mary Hansen. The album was met with poor sales, and was their last before departing V2 Records. A two-disc compilation, Retrospective, Rarities & Instrumentals (2003), collected tracks from their main discography up to this point. Additionally, it included rarities that had been released as B-sides or bonus tracks on Japanese and American editions of their albums, while one song, "Vampo Brazil", was a previously unreleased outtake from the Cold and Bouncy sessions. 2000s–present The High Llamas started recording for the Duophonic and Drag City record labels with Buzzle Bee (2000), which saw the band experimenting more with their sound, while