Synesthesia is defined as “The production of a sense impression relating to one sense or part of the body by stimulation of another sense or part of the body” and couldn’t be a better title for Hands’ debut full-length. This album has been a long time coming for Geoffrey Halliday and Ryan Sweeney, who began playing music together in Philadelphia while attending high school. In 2007, the duo moved across country to Los Angeles, where they met Sean Hess and Alex Staniloff, and as a four-piece, Halliday and Sweeney were finally able to produce the type of music they had been playing in their minds all along.

With two extra sets of hands, the project evolved from an acoustic folk outfit to what it is today: aurally and visually provoking experimental electro-rock. And as the quartet quickly won over the heart of its new home, L.A., it also grabbed the attention of a little label called Kill Rock Stars and decided to release its freshman effort.

The most impressing aspect of Synesthesia (though there are many) is its production. Even though Hands signed with a record label to distribute the release, the band self-recorded and produced the entire album and hit every texture and layer dead-on. From the first bassy synthetic whomp of the album opener, “Trouble,” it is clear these guys know what they are doing. Clapping drum machines lighten the sound and make way for Halliday’s shrill vocals. Guitar riffs flutter as the singer makes his way toward the chorus. It is catchy and dance-inducing, but it’s not predictable, especially when the glittering electronics stop and transform into atmospheric tones as Halliday sings “Open your eyes, and realize,” before breaking into ethereal “oohs” and ending the phrase with “Forget my name, forget my life,” as the music effortlessly transitions back to the adrenaline powered chorus.

The next few songs continue down this peppy road but the album changes course with its single, “Brave Motion.” This track is more immediate than its predecessors, taking no time to build and focusing on the more standard dance rock formula of straightforward guitars, drum, bass, and keys. The record continues to morph with a B-side comprising more psychedelic, reverb-heavy tracks like the echoing “House of Jars” and oscillating “Lonesome Body.” And though this switch may seem drastic, Hands eases into it in such a way that it’s as natural as day transitioning to night.

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