If Daniele Luppi’s previous collaborative efforts are anything to go on, Milano was always going to be an extremely interesting project. The renowned Italian composer’s last project saw him team up with producer Danger Mouse, along with unlikely duo Jack White and Norah Jones, to produce arguably one of the most interesting releases of 2011, Rome.

Following a similar format, but with drastically different results, Milano was created in collaboration with American band Parquet Courts. In the seven years since the band’s creation, Parquet Courts have done just about everything they possibly can to avoid being pigeonholed as simply one of the many emerging punk bands in the New York scene. 2014’s Sunbathing Animal set a benchmark for creativity and portrayed the band’s seemingly endless stream of energy – a benchmark that, to the band’s immense credit, was upheld on both 2015’s Monastic Living EP and 2016’s full-length Human Performance.

The smooth Americana of Milano is a far cry from the soulful melodies of Rome, and presents the ideal melting pot for the influence of both the brash musicianship of Parquet Courts and fellow collaborator Karen O’s forceful vocals, which drive songs such as ‘Talisa’ and ‘Flush’. Towing the line between surf rock and Stooges-esque proto-punk, ‘Mount Napoleon’ and ‘Memphis Blues Again’ tap into the imagery of restless youth and lost relationships, and weave them perfectly with the sounds of twangy messy guitars and Andrew Savage’s thuggish vocals. ‘Pretty Prizes’ seems to draw heavy influence from Roxy Music, and combines the vocals of both Karen O and Savage to create one of the best and most enjoyable songs on the album, whilst ‘The Golden Ones’ provides Karen O with the perfect platform on which to extoll her vivacious prose. There are very few artists who could truly helm a track such as this without pissing you off.

The album’s conclusion ‘Café Flesh’ is the only track only the album in which Luppi’s vision veers slightly into misplaced self-indulgence. The five-minute vocal-less freeform jazz piece is trumpet-driven and builds as Parquet Courts slowly apply some form of structure, and whilst it is an interesting track, it seems slightly disappointing to end what is a shining example of Luppi’s on-point creativity with something which meanders a little too much. Regardless, the album is an engaging and enjoyable listen and deserves all the credit it will inevitably receive.