Musically, the ’80s were a time of conflict. Synth bands began to challenge existing genres and often accomplished great successes with flash and little substance. Clothes were outlandish, hair often deserved its own postal address, and primary colours were heavily celebrated in all facets of art.

Synth heavy bands in our current era operate quite a bit differently. Post War Years might have the hook-heavy quality of the Thompson Twins, but comparisons stop there. The four-piece, now based in London, have been photographed wearing plaid and look more like an indie-rock band than a hybrid prog synth-pop outfit. They also tend to transcend genres, recently opening a few dates for the Mumford And Sons, a band that couldn’t be further from the ’80s. The decade that was full of opulence and indulgence declared war on music and culture, so it is fitting that the Post War Years continue that movement, with a little more depth.

Galapagos also becomes a fitting name for the album given the hybrid nature of the music and the story behind the chain of islands, famous for their unique and diverse collection of life that gave rise to Charles Darwin‘s theories of evolution and survival. Similarly, on the album, there are tracks that borrow elements from the past and combine them with mutations that are destined to be a part of future generations of synth-based music.

While we are on the subject, if you happen to end up stranded on an island, given the choice to take only a single track from Galapagos, you might find the water-vs-food debate much easier to answer. The album has this special quality where it is hard to pick a favourite and songs seem to select themselves based on the mood and moment. For a bit of a darker feel, ‘Mellotron’, fits the bill and provides an energy similar to that of John Maus. Though it does not sound like they actually use the classic electric piano in the song, ‘Mellotron’ feels like the kind of song that has been around for a few decades but remains relevant in the present.

‘Volcano’ provides the best build up on the album with a nice danceable beat and multi-layered elements all coming together with a subtle but effective crescendo near the end. Of course, ‘The Bell’ and ‘Glass House’ are gems not to be forgotten and were already featured on two previous EPs. To continue along our theme of life and survival, the aptly titled ‘God’ finishes the album with a haunting and eerie melody sung perfectly by lead singer Henry Riggs: “Get on my feet and take control of this city”. You may already have. “God’ is a perfect finisher but is somewhat formless and dabbles in a bit of everything already presented on the album. The song is in stark contrast to the prog rock opening of ’All Eyes’, but it is that kind of diversity that keeps Galapagos so interesting.

It is increasingly difficult to survive in the music jungle, given that clubs and discos still crank our remixed versions of ’80s classics that have proven to have survived this many years. On its own merits, Galapagos offers diversity and stickiness and ensures that the Post War Years might hang around a while yet.