It has been four years since I DONT KNOW HOW BUT THEY FOUND ME released its first record, “RAZZMATAZZ,” in 2020. The duo, drummer Ryan Seaman and bassist Dallon Weekes have played several tours and festivals. Recently, Seaman left the band, leaving Weekes as the remaining member. Weekes has continued the band as a solo project, leading to its sophomore record, “GLOOM DIVISION,” which was released on Feb. 23.
Coming from 1970s and 1980s influences like Elvis Costello and Sparks, this album dives deep into the whacky pop soundscapes that littered both eras. There are also hints of the late 1990s to early 2000s throughout the record, coming from bands like The White Stripes and Beck. In an interview with Rock Sound, Weekes stated that his influences came from artists that he listened to growing up and into his early adult years.
The album opener, “DOWNSIDE,” makes his influences well known with grungy bass, driving guitar and squeaky synths. Weekes’ vocals are deep and monotonous during the verses, but they reach his signature warbling tone in the chorus. The layering of harmonies during the chorus is quite haunting, but the listener is drawn to the fuzzy yet powerful drums as he sings.
In a video posted to their social media, Weekes states, “(“DOWNSIDE”) is about how sometimes we can become so enamored with a romantic partner that it becomes difficult to see the negative aspects of a relationship.”
“Sometimes you don’t want to see them because it can be more painful to try and look at it objectively. For better or for worse, you’re in a situation and maybe you want to stay in it, even if you know that it’s bad for you, so it’s hard to look at the downside even though it’s there,” Weekes continued.
Many of the songs on this record are carried by a deep, almost muddy bass line that either takes the forefront or backseat of the track. On the following track, “GLOOMTOWN BRATS,” the bass is loud and buzzy as it flows through the Blondie-esque song.
The track itself is very reminiscent of Blondie’s “Rapture” with Weekes’ falsettos during the chorus mimicking Debbie Harry’s vocals. There’s even a slight talking section that holds the same cadence as the rapping section in the classic ‘70s hip-hop tune.
“INFATUATION” and the record’s first single, “WHAT LOVE?” hold a similar bass line, but in different ways. “INFATUATION” sounds like a Hall & Oats track with Weekes' angelic harmonies and titling high hats on the drums with the deep bass line droning underneath the percussion.
“WHAT LOVE?” feels extremely alternative with the bass line bumbling, yet complimenting Weekes’ breathy voice. The synths on this tune are dreamy as they wave through the verses, but they turn rather robotic, almost similar to the sound effects of an 8-bit video game when they hit the bridge. Both are extremely 1980s tracks, but dissimilar at the same time.
“SPKOTHDVL” and “SIXFT” turn to the aforementioned 1990s/2000s influences with grimy, The White Stripes’ bass lines and distorted guitar riffs. “FIND ME” carries a similar bass tone, but has a slower tempo and the techno sound effects make it sound more modern. “KISS & TELL” sticks with the slow energy with Weekes’ softer, crooning vocals and bright, reverberating electric guitar. The piano on this track is quite baroque with its tickling trills and brighter tone.
“A LETTER” and “SATANTIC PANIC” are oddballs in their own ways. “A LETTER” is a reworking of a song with the same name from Weekes’ former band, The Brobecks. The original track features The Brobecks’ drummer, Matt Glass, who recites the song’s lyrics in a deep, edited voice. It holds a lot of similarities to the older track, but there are additional backing vocals and chimes that sound similar to wedding bells.
“SATANIC PANIC” is more glam rock with driving drums and buzzing bass. There’s a playfulness to Weekes’ delivery of the lyrics, which depict a more serious topic with the satanic panic of the ‘80s.
“SUNNYSIDE (Feat. Will Joseph Cook)” and “iDIOTS OF Oz” close out the record with a bang. “SUNNYSIDE” is a lot more upbeat with its Foo Fighters-inspired drums and heavily distorted electric guitar. The song’s sunny melody is contradicted by dark lyrics like, “You’ve got to play through the pain and just ignore what’s creeping in/Some day we’re all going to die.”
“iDIOTS OF Oz” closes the record with dreamy synths, a groovy bass line and poppy drums. It is a solid album closer that wraps up the record in an extravagant 1980s bow.
Overall, “GLOOM DIVISION” by iDKHOW is a solid departure from their last record. This is a great time for new fans to get into the band, as it is currently on its Gloomtown Tour in the U.S.
Rating: 4.5/5
