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Pan Am in a brief summary could be reduced to neo-punk. But one word is hardly worth printing, and neo-punk as a definition would have trouble spanning the creativity scale of Pan Am. Perhaps neo-punk, genre hopping eclecticism is closer to the mark, but even that struggles I feel.

The album is a miss-mash of sounds and styles ranging from parts that sound like 98 Mutations period Beck (Interstate Boy) to the self-professed “orchestrated sci-fi art-rock’ of Brisbane locals The Red Paintings (Natural). But the uniqueness of Pan Am somehow makes it work.

Supa Sam is a bit of a flat opener. The music is great, but the lyrics come across like some amateur, first-gig punk band, but Interstate Boy is more than capable of making it up. It is a playful, repetitive and catchy ode to a beautiful boy. Watch the glam-style chorus, it has a sound that will hook you in.

Superman takes Interstate Boy’s lead. Less playful but equally impressive, Superman is a polished lyric track set for radio airplay.

Sexually charged Japanese Girls is a kooky ditty much like Long Grass. Both tracks push Interstate Boy’s playfulness further and let out the experimentalism of Pan Am.

Song 1 should be renamed to 1 song to mark its position as the best track and first single. A mid-album gem, Song 1 is already on radio high repetition and for good reason. The bass work is hot, and the lyrics are all about sexual experimentation and drugs, what all good rock songs should be about.

Cigars in the Suitcase is perhaps a little long winded at the end but it is great chill out song regardless. Natural is a meandering experimentation track with lyrics that are divine. Saskatchewan makes a nice closer for the album.

This New Zealand defected, Melbourne refugee band fit nicely into the Australian alternative rock scene.

If you can get your hands on it the 14 track version of the album is even more Pan Am fun.

read the review on The Program