If a film was made in 1975 about a band coming from the future to play some songs, that band would be Tycho, and the film would take place at Metropolis.

The 4-piece has a way with that old school synthesizer mashed up with bass, drums, and guitar, and it was both beautiful, wistful, happy and reflective. The four men also kept things interesting by switching instruments occasionally, as virtuosic musicians are wont to do.

Hailing from San Francisco, and touring their new album Epoch, an album that seemed to rise from the ethereal ashes of more mellow, dreamy offerings such as 2014’sAwake and 2011’s Dive.

TychoI have one complaint to air of the Metropolis show, and it is this:

I had to buy earplugs. I have been going to shows for almost fifteen years now, and the Tycho show was the very first gig that I have ever needed to buy earplugs for. (I probably should have bought earplugs for Holy Fuck, but that’s another story…) The bass was really, really loud. So loud that my heart began rattling painfully in my ribcage.

Beacon, from Brooklyn, was the opener. They too were agonizingly loud. Unnecessarily loud. Perhaps I am getting ornery (and deaf) in my old age, but earplugs were needed for the Tycho show.

Like I said, however, I only had one complaint, and I’ve aired it. I’m ready to move on. Tycho kind of seems like studio rats, in that they spend a lot of time perfecting their futuristic-in-1975 jams. Scott Hansen, the composer, was very polite and appreciative when he took the time to speak, and even apologetic of one musical fumble – such a musician thing to do. The audience rarely notices things like that.

Perfectionists do, however, and Hansen is one of those. Audience members looking for Mars Volta-esque improvs would have been barking up the wrong tree, as Tycho stuck to the songs and the purity of their formats. But the concert was virtually flawless and dreamy, perfect for ushering in the birds and leaves and blue/pink skies of spring.

Behind the band, a giant slideshow of designs scrolled, images of distorted mountains and pink water, smoke and lights and clouds and flowers, diamond shapes and beautiful patterns in the clean aesthetic that is Tycho’s signature. You can also thank Hansen for that, as he is the brain behind such artwork, creating under the name “ISO50.”

With special surprises like the lead singer of Beacon jumping onstage for a song, and the bouncer shining a flashlight into the face of some rule-breaker, I would also like to give special thanks to the intense Night-at-the-Roxbury dancer who was just going to town beside me. Additionally, thanks must also go out to Tycho for a brilliant show, and Metropolis for having the good sense to host them.