There’s something undeniably Los Angeles about Electric Guest’s seabreeze charm and beachside manner. The fact that Danger Mouse got involved so early on had necks going rubber and eyebrows raising, but now it makes so much sense. At this point in his career, Mouse’s Midas touch is a familiar friend that simply can’t grow old and also happens to be one of Guest’s strongest weapons that they brandish with timeless precision. Debut LP Mondo is a 10-song line dance that’s contagious and kinetic, all connected by the striking boy genius Asa Taccone. It both moves you and moves with you.

Asa (brother of The Lonely Island’s Jorma Taccone) and Danger Mouse vibe-check a free-wheeling brand of indie pop with the heart and soul of Motown that straddles multiple decades and genres. This all-encompassing aesthetic combines the most potent parts of Foster the People and Broken Bells with the songwriting of both, multiplied to an exponential power. There’s some redeeming thing to love about each song, which means there’s either something for everyone or everything for someone.

‘Holes’, the palindromic album opener, tickles your palate with lazy-Sunday synthesizer staccatos like an instrument speaking in broken English, with Asa riding the crescendo chariot into the next two songs, a solid block of merrymaking. While ‘This Head I Hold’ is a chin-nodding, finger-wagging piano-driven romper that pulls the carpet from underneath you to make way for a makeshift dance floor, ‘Under the Gun’ aims for a more premeditated approach that ensnares you unawares in the heat of the moment.

Sleeper hit ‘Awake’ has this megaton Black Keys-esque middle eight that drops like heavy eyelids and makes the spiritual awakening that much more eye-opening. On ‘Amber’, Mouse’s production fills Asa’s falsetto with gusto and oomph, the way a balloon needs its helium fix to fulfill its sole purpose. And it floats, it dazzles with soft electronics, as jaws drop on the floor before you can even say “ow”. ‘The Bait’ is brilliant: not only is it the halfway mark of the album, but the song itself is bait that you’ve taken without question or regret, and it doesn’t disappoint.

This segues to ‘Waves’, where Electric Guest channel the late great Voxtrot in the best way imaginable with blip-happy keys that dance along the strip to Asa’s subdued serenade. It’s the start of something, alright, the establishing shot before ‘Troubleman’ fades into view. If there was a title track, this would be it – it’s Electric Guest’s ‘Transatlanticism’ after all, a brilliant instance of repeating eurekas, in all nine glorious minutes. But they’re not done just yet.

They return with ‘American Daydream’, one of the first singles unleashed unto the unsuspecting masses. It’s got the singalong chorus, Asa’s soul-searching vocals heard through an insta-Grammy filter, and that schizophrenic last bit that can only be described as the perfect fit. ‘Control’ is not only a cheeky nod to the first track, it’s also the ultimate epilogue to the sensory cinematic masterpiece that is Mondo. The mounting pressure of the whole world rests on Asa’s shoulders right now, like Atlas from the Greekest of mythologies, but he’s doing a damn fine job. Keep it up, dude.