ALBUM REVIEW: I Don’t Know How But They Found Me – Razzmatazz

Release Date: October 23rd 2020
Label: Fearless Records


Since forming a little over three years ago, I Don’t Know How But They Found Me (often referred to simply as iDKHOW) have been building a rabid fanbase.

The duo, consisting of Dallon Weekes (ex-Panic! At The Disco) and Ryan Seaman (ex-Falling In Reverse, cross multiple genres to create a blend of alt rock and pop to deliver on the anticipation of their debut LP, ‘Razzmatazz’.

With funk infused bass and an alternating synth line, ‘Leave Me Alone’ sets the bar high from the get go. Moving around duelling melodies and tight breaks, Weekes embraces the role of frontman with ease, crooning alongside Seaman as the track glides through its wide coda into the percussive and grooving ‘Mad IQs’ effortlessly.

Embracing multiple new wave tropes, ‘Mad IQs’¬†ensures that ‘Razzmatazz’ is far from predictable, and following number ‘Nobody Likes The Opening Band’ solidifies that with its vaudeville inspired piano melodies pushing the record in yet another direction.

This isn’t to say that the record relies solely on the element of surprise. Indeed, ‘New Invention’ shows that the duo have razor sharp hooks hidden up their sleeves. Knowing in its delivery and expecting its audience to keep up, the track moves around slinking bass lines and weaving melodies at a rapid pace.

Embracing the ambition previously hinted at, ‘From The Gallows’ fuses multiple styles and motifs in a condensed time frame, and serves as a tipping point for the record. The same can also be said for ‘Clusterhug’, with its sweeping melodies and grand instrumentation helping iDKHOW distance themselves from previous projects.

Showing the dichotomy of the duo’s sound, ‘Kiss Goodnight’ and ‘Lights Go Down’ sit side-by-side as the record reaches its latter point. The former of the two showcases the subtle vulnerability and range of Weekes‘ vocals, whilst the latter swirls saxophones into its bouncing synths.

Streamlined throughout, the close of ‘Razzmatazz’ appears abruptly, choosing the one-two punch of ‘Door’ and the title-track to conclude matters. Whilst the former ventures into ukuleles and falsettos for a short and sweet ditty, the latter concludes the record properly with stomping pianos and a beckoning chorus.

Simultaneously looking at the past and the future, ‘Razzmatazz’ imbues a timeless quality. Filled with a strong collection of tracks, I Don’t Know How But They Found Me have crafted a record that plays through with joy and experimental wonder.