The release of their sophomore effort, In Ghost Colours put the Melbourne, Australia-based act Cut Copy on the international map as the album was a commercial and critical success, thanks in part to a sound that deftly mixes and blurs the lines between psychedelia, synth pop and indie rock in a way that was club friendly and yet earnest and deeply personal. 

Zonoscope, the Australian quartet’s third album – and follow up to In Ghost Colours – was a decided change in sonic direction, as the band wanted to evoke a sweaty, tropical and downright tribal feel to the material. And although I felt that the album was lacking, it did further cement the band’s reputation as an international indie pop sensation, as they were playing more extensive tours and larger venues. 

Last November saw the release of the band’s fourth and most recent release, Free Your Mind which sonically will strike fans of the band as a synthesis of the sound they’ve developed over their previous three albums – and you’ll hear elements of each album throughout; however, at points, the album manages to be some of the most straightforward house music they’ve released to date. Interestingly, Modular Records just released a deluxe version of Free Your Mind, completed with three previously unreleased tracks. 

What makes a deluxe edition of an album with unreleased tracks so compelling to me is the thought of how different an album would have been with the inclusion of a previously unreleased song. In many cases, you can see why a particular song was left from the album – usually, the discarded track doesn’t quite fit the mood of the album or it isn’t as well written as the album tracks. And in some very rare instances, the discarded track should have been on the album. “Believers,” one of the unreleased tracks, which you can get with the deluxe edition, is a track that manages to feel and sound as though it should have easily been on Free Your Mind as it manages to synthesize the sound the band crafted on Bright Like Neon Love and In Ghost Colours – in other words, you’ll  hear the densely layered, propulsive synths of house music, swirling industrial noise, mournful saxophone samples at the bridge and Dan Whiftord’s plaintive and swooningly Romantic vocals.