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In truth, iDKHOW feels extra like a tribute to mid-2000s indie artists like The Killers, Franz Ferdinand and even Muse, whereas concurrently echoing the 70s and 80s sentiments of David Bowie and Queen.
Leave Me Alone makes for a reasonably good album opener; 80s synths mix seamlessly into an upbeat disco rhythm and it is the proper introduction to Dallon Weekes’ funky vocals that shall be persistently filled with surprises because the album progresses.
The dramatic Mad IQs maintains that dynamic vitality earlier than they pull-out a splendid tongue-in-cheek quantity entitled Nobody Likes The Opening Band. We’re feeling a really Robbie Williams vibe on the vocals of this piano-led, baroque-pop quantity and lyrically we’re joyful to see a band which can be all about having enjoyable.
From The Gallows is a equally schmaltzy lounge quantity, undercut by varied surprises; it is often harking back to Queen, with an inexplicable romantic lament from a Stephen Hawking-esque voice mid-track, and a saxophone solo in addition. There’s so much occurring right here, however who’re we to inform iDKHOW to strip it again a bit?
After a hovering psychedelic quantity that’s Clusterhug – a typically cloyingly candy love tune – an actual album spotlight comes with the synth-laden Sugar Pills. It’s a campy new wave anthem that oozes intercourse enchantment and actually screams what iDKHOW are all about.
iDKHOW take it down a notch for the rest of the album; there’s just a little vibe of The Cure (Wish period) on Kiss Goodnight, uplifting twinkly synths on Lights Go Down, and a lullaby high quality to Need You Here.
However, after the quick and melancholic Door, Razzmatazz ends on a robust notice with the title observe, Razzmatazz. It’s a little bit of a rock quantity with the aftertaste of every little thing else we have heard, and it is in all probability the tune that echoes Panic! At The Disco essentially the most – not that we have been in search of that.
iDKHOW are unapologetically flamboyant all through this hook-laden and completely over-the-top launch. Pleasantly jazz-tinged and typically eerily vaudevillian, it was all the time going to be laborious to pigeonhole a band like this. But maybe for now we needn’t.
