Shrouded in mystery upon the release of their first EP in 2018, Salt Lake City duo I Don't Know How But They Found Me (or iDKHOW) pulled back the curtain to step into the spotlight for their bombastic full-length debut, Razzmatazz. An explosive fusion of alternative rock, pop savvy, and nostalgic funk swagger, the set strikes an infectious balance between the angular grooves of early-aughts ringmasters like the Killers and Franz Ferdinand and '60s glam gods like David Bowie and Marc Bolan. The results are fun, sexy, and ...
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Shrouded in mystery upon the release of their first EP in 2018, Salt Lake City duo I Don't Know How But They Found Me (or iDKHOW) pulled back the curtain to step into the spotlight for their bombastic full-length debut, Razzmatazz. An explosive fusion of alternative rock, pop savvy, and nostalgic funk swagger, the set strikes an infectious balance between the angular grooves of early-aughts ringmasters like the Killers and Franz Ferdinand and '60s glam gods like David Bowie and Marc Bolan. The results are fun, sexy, and absolutely catchy, aligning with output by contemporaries such as Joywave and the 1975. From the start, primary members Dallon Weekes and Ryan Seaman lay their inspirations right on the table, tapping into the funkier sides of Bowie and Peter Gabriel for "Leave Me Alone," which struts with elastic bass, hand claps, and a conviction that establishes Weekes as a consummate showman in the making. From there, the bombastic "Mad IQ" slaps a thick "Fame"-esque swagger over jagged synths, while the sexy bounce of "Sugar Pills" sounds like Under the Influence of Giants colliding with Scary Monsters. Elsewhere, "Clusterhug" elevates Razzmatazz to new heights atop a twinkling melody reminiscent of Muse's "Starlight." The vocal harmonies and sonic layers on that track also introduce another of the band's inspirations, Queen, whose spirit returns on the falsetto highs of the midtempo piano ditty "Need You Here." Channeling all of those iconic frontmen comes easy to Weekes, and Razzmatazz is a showcase for what he can pull off. Even slower numbers that could be considered filler anywhere else are endearing and engaging, playing like moments for the audience to catch their breath in a live show. "Nobody Likes the Opening Band" is one of those highlights, a tongue-in-cheek piano pitch for the oft-ignored warm-up act that charms like the best of Ben Folds' live ad-libs. Closing with the theatrical title track, iDKHOW creeps along with spooky synths before shooting for the rafters with an angelic chorus and juicy saxophone solo that dazzles with that namesake flair. Razzmatazz is a masterful debut, one that shows promise for a pair of musicians who proudly wear their influences on their sleeves. ~ Neil Z. Yeung, Rovi
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