Cut. Copy. Buy.

Led by the group’s founder Dan Whitford, Cut Copy has grown from being one man’s solo project to a highly esteemed retro-electronic four-piece Aussie power house. Staying true to its 80s synth pop style, Cut Copy is returning yet again with another record to add to its list of full-length albums.

“Zonoscope,” the band’s third full-length studio album, will be released Feb. 8 on Modular Records. The record is a prime example of how far these Melbourne dance punks have decided to venture back into the genre of music that encapsulated a decade. In addition to some studio help from Ben H. Allen, who worked with groups such as Animal Collective and Gnarls Barkley, this album is surely going to paralyze any headphone junkie with its extreme ear-grabbing textures.

Officially starting up in 2001 with Whitford’s single “1981” and his “I Thought Of Numbers” EP, Cut Copy decided to expand—recruiting additional members Tom Hoey, Bennet Foddy and Mitchell Scott in 2003. Since releasing their debut album “Bright Like Neon Love” in 2004, which was written and produced by their founder Whitford, the group has avoided the undertow that washes many groups out of stardom early on.

After losing Foddy to his greater ambitions of obtaining a PhD, the group toured internationally with groups such as Franz Ferdinand, The Presets, Junior Senior and Bloc Party in 2005. Cut Copy’s 2008 follow-up record “In Ghost Colours” showed the band branching out from its rather similar style renditions of Daft Punk-esque songs into much more colorful harmonic choirs that filled in new and complex instrumentations. Their seemingly unsure-yet-noble decision to begin filling a more original mold was rewarded in the ratings shortly thereafter with their release, which held number-one in ratings for Australia (of course). However, with Cut Copy’s addition of their recent bassist, Ben Browning, on their latest album “Zonoscope,” the group has taken yet another step into unchartered territory.

Opening the new record is a song called “Need You Now,” which merges the sounds of a typical 80s club anthem with a strange feel of U2 thrown into the mix. This is just one of those things where you—yes, you—the reader, are just going to have to listen to the song for yourself. Packed with Bono-reminiscent vocals echoing over shimmering melodies, they exemplify the bass-y undertones that cradle the 80s feel altogether. It is not surprising that this song is one of their singles, but just like U2’s musical career, it is hard to admit its true merit.

What brings Cut Copy to international recognition is that the group has the uncanny ability to bring catchy riffs across all genres of music and blend them together into a four-minute song that seems to tickle your brain’s music capacity as you listen. On track four, “Pharoahs & Pyramids,” the group brings familiar vibes from David Byrne and his Talking Heads by serving up funky basslines that wrestle down a sound sampler and synth with occasional drum breakdowns. The David Byrne influence is also heard clearly on the album’s 15-minute, monster last track “Sun God.”

But alas, the record gets back down to a universally accessible level with the track “Where I’m Going,” holding true to his words: “It’s my dream/and it’s yours if you want it too.” Whitford certainly sounds like he knows what he’s doing because this song seems to cross all genres and is—it’s safe to say—a masterpiece.

So, interested in getting a glimpse of what kind of music can be produced “down under?” Get this album. If Portland is the dream of the 90s, then Melbourne is holding the 80s down pretty tough. Warning: This album will grow on you and may cause you to get up and dance. ?