Look for Your Mind! is the sixth studio album from Brooklyn-based brothers Brian and Michael D'Addario, recording as The Lemon Twigs, released on May 8, 2026 via Captured Tracks. Following the critical breakthrough of Everything Harmony (2023) and A Dream Is All We Know (2024), the fourteen-track record represents both a deepening and a broadening of the aesthetic the brothers have spent a decade refining — jangly, surf-tinged, psychedelic guitar pop steeped in the harmonic language of the 1960s, with the Beatles, Beach Boys, Big Star, and Brill Building songcraft as its primary DNA. The album also marks the first time the D'Addarios have brought their live rhythm section — drummer Reza Matin and bassist Danny Ayala — into the studio, alongside longtime collaborator Eva Chambers, a decision Brian credits with finally capturing "that vital live sound on record." Recorded, as ever, in their cramped 400-square-foot Brooklyn studio, the album carries an undercurrent of paranoia and suspicion beneath its bright, poppy exterior — Brian describing its thematic spine as a response to what he sees as a time of collective insanity: "You really have to hold onto your own mind if you don't wanna lose it."The fourteen tracks move through a dazzling range of reference points without ever feeling unfocused. Michael's jangly opener "Look for Your Mind" and Brian's bouncing teenbeat number "2 or 3" establish the guitar-driven harmony sound at the record's center, while "Gather Round" opens into joyous orchestration somewhere between Mariachi brass and New Orleans second-line. "Fire and Gold" takes a power pop riff and pulls it toward Irish folk drones, tanpura, and Gregorian chant overtones; "Bring You Down" channels Eddie Cochran surf stomp into a pointed critique of corporate surveillance and AI displacement; and the orchestral ballad "Joy" — arranged with Sammy Weissberg — is the album's most emotionally overwhelming moment. The album closes with "Your True Enemy," which devolves into a full sonic breakdown featuring backwards cellos, a Leslie-speaker-treated vocal, and the brothers' father reading a Yeats poem in reverse. The Irish Times aptly called it "a collection of lush power-pop nuggets full of bright melodies and dark lyrics" — a record that makes the utterly familiar sound freshly invented, which has always been the D'Addarios' most improbable and essential trick.
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