Listen: Young Dreams - "My Brain On Love"

Much of the career of Norwegian pop rockers Young Dreams both before and after their stunningly great debut Between Places has been trying to achieve an artful balance of boundary-pushing and leaning into the pop sounds that inspire them. On Between Places, it resulted in a sprawling, lush work of beguiling symphonic pop. Much of Young Dreams' work after has been much more experimental, chasing melodies or ideas that appeal to them while attempting to inhabit them in a way that feels real. There's no denying that the current trend in pop music has influenced producer Matias Tellez. From "Of This City" to "Sinner (I'm Sorry)" to "My Brain On Love", the second single from their upcoming sophomore effort Waves 2 You, the touch of autotune is all the proof you need of that.

"My Brain On Love" functions as a bridge of sorts between these two versions of Young Dreams. Where "Cells" introduced a much more sustainable form of electronic experimentalism and incorporating influences than the much more R&B reminiscent standalone singles, "My Brain On Love" rectifies Tellez's production talents with the band's knack for winsome melodies as well as their shifting genre proclivities. Young Dreams have never particularly been a band beholden to the notion of genre even though Between Places often ended up at the chamber pop/symphonic rock end of the spectrum but the band know their way both around trippy psychedelics and full-bodied synths and "My Brain On Love" relies more on these than anything. It's a song that undergoes a great deal of metamorphosis from its autotune laden intro to its more straightforward clear-cut melodies that bop along to sprightly grooves to an unexpected bit of distortion,, the band tackle these various moving parts with casual ease. 



Young Dreams' sophomore full length record Waves 2 You is out January 12th on their own Blanca Records. You can pre-order the record now through their Bandcamp.

Listen/Watch: Young Dreams - "Cells"

Though it was essentially an salvaged outtake from their abandoned sophomore full length record, "Of The City" hinted at a brand new direction from the orchestral pop sextet Young Dreams. Though it made use of organs and strings, there was a reliance on synths and they were utilized far differently than they were on the band's debut Between Places. And when they released r&b tinged single "Sinner (I'm Sorry)" earlier this year, the potential direction of their new album was once again up in the air.

"Cells" however finds the band at a sound that is perhaps far more sustainable for a full record. Another indicator that the band has largely left behind the symphonic layering that defined much of their debut, instead "Cells" finds Young Dreams drawing closer to those psych rock grooves that inspired them do a Tame Impala rework. But unlike "Sinner", the musical direction doesn't seem as far of a leap away from their original sound than it ends up being. "Cells" certainly doesn't lack for experimentation but elaborates more on the band's previous ventures in tropicalia and psychedelica. "Cells" is a laid back soak in the sun very in line with Young Dreams' normal sun-kissed musical escapism but is much more than a traipse down Young Dreams sounds past. Much like how the titual "Young Dreams"/"Flight 376" and "Expectations"/"Dream alone, wake together" singles informed the direction of Between Places, those same building blocks serve as a sort of alternate timeline here. One that relies more on the band's immediately presentable skills than in Matias Tellez's incredible production talents. Not that Tellez's production is missing on "Cells" but unlike "Sinner" and even "Of The City", they're reigned in and honed in a bit more. Though Tellez utilizes a number of percussive effects and samples as well as synths, they're treated with a lighter touch than the previous singles. Also Rune Vandaskog's vocals remain largely untouched by effects unlike the persistent autotune that they were run through before.

"Cells" is a picture of a subtler Young Dreams. Where Between Places captured these incredible emotional reflections and paired them with grand arrangements and intricate layers, "Cells" finds a bit of a balance between what the band can accomplish live and what works in the studio. It's the first song (and potentially the only one that'll actually be on the upcoming sophomore record) that you can actually imagine the band playing live even as it dips into it's electronic moments. 

"Cells" is an incredibly catchy work of pristinely plotted psych-infused pop and one that highlights just what makes Young Dreams work so well as a unit. They don't need orchestral flourishes to define them; what they have instead is an tight-knit precision and a pursuit of sounds and colors that make their hometown of Bergen sound a little brighter.

Watch the lyric video for "Cells":


Young Dreams' sophomore full length record Waves 2 You is out January 12 via their own Blanca Records. You can pre-order the album now through their new Bandcamp page.



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Listen: Young Dreams - "Of The City"

After releasing their impeccable debut album Between Places back in 2013, Norwegian power pop outfit Young Dreams more or less got immediately to work on their follow up before scrapping it and returning to side projects and solo efforts while other ideas percolated.  Guitarist Chris Holm put out his debut record Kilos as well as worked on/recorded new material with his other band Bloody Beach while multi-instrumentalist Matias Tellez produced several tracks on Sondre Lerche's seventh studio album Please as well as Lerche's Despite The Night EP and forthcoming follow up record. But after some time away the sextet are back with brand new single "Of The City".

While Young Dreams has largely rooted itself in a summery indie pop sound, Between Places and its supporting singles reintroduced the band as a far more arrangement heavy incarnation than their debut singles "Flight 376" and "Dream Alone, Wake Together". "Of The City" instead focuses in on the band's tropicalia and psych rock influences for a particularly groovy jam. It's a nimble gallop rooted more in synth tones than the band's previous efforts without completely redefining the band's core sound. The orchestral flourishes are more ornamental in nature and the Rune Vandaskog led track avoids layered vocal harmonies in favor of much more straightforward vocal delivery and interlocking grooves but the band's sense of musical escapism is alive and well.  Considering it was originally meant to feature choir and orchestra on the band's discarded effort, the rework of "Of The City" finds Young Dreams leaning more into dance and rock elements than the chamber pop of Between Places without losing any of its balmy breeziness. It's a decidedly different approach than originally intended but the finished work is a testament to Matias Tellez production talents. There's no
telling if the newly recorded replacement album will follow "Of The City" all that closely stylistically but it's a hell of a comeback that's guaranteed to help satiate fans until Young Dreams release their new album next year. Until more details roll out, welcome back Young Dreams.



"Of The City" is out today via the band's own new label Blanca Records.

Listen: Bloody Beach - "Mezcal Letters"

While I was introduced to Norwegian singer/songwriter/guitarist/everyman Chris Holm primarily through his work as a member of Norwegian orchestral pop outfit Young Dreams, it wasn't long before I discovered the man has his hands in many different pots. His solo effort Kilos melding Young Dreams balmy tropical-infused lushness with sample-laden electronic pop and old school indie rock. And then there's Bloody Beach, in which Holm plays bass, which takes that same sunny musical escapism and pairs it with psych rock.

"Mezcal Letters" is the first single from their five piece's upcoming sophomore record, the follow up to their Nabovarsel debut Bloody Beach Pirate Radio Presents, and pretty much continues in the group's self described tropidelica (both a portmanteau and catch all for all of the groups' combined musical interests in surf and psych rock, dub and afrobeat). "Mezcal Letters", produced by Holm's Young Dreams' bandmate Matias Tellez, curbs much of Bloody Beach's initial punkiness (established in first single "Quembo Que?") in favor of a much more fluid take on tropical pop. While the band has been known to skip around around in terms of sound and tone, there's no denying there's a certain appeal in "Mezcal Letters" consistency. It's smooth, featuring vocal hand-offs from Arne Håkon Tjelle and Chris Holm, and a bit less chaotic than the dance rock of their debut full length but none of that energy is lost. "Mezcal Letters" for its veritable pleasantness, is still very much a jam. That energy just seems to be more concentrated into some tight-knit grooves and some exciting instrumental flourishes. Considering the quintet's history of experimentation, there's no telling where the group will end up going on their sophomore record but if there's more like "Mezcal Letters" on it, you can certainly sign me up.

All Around Sound's Favorite Albums of 2013

It may not actually be true but this year at least seemed to be extensively stacked with follow ups from returning artists rather than a year which overflowed with impressive debuts. Whether those bands/artists had essentially released an album not too long ago (Alessi's Ark, Teitur), followed the traditional release schedule of an album every other year (Arctic Monkeys, Telekinesis) or appeared after a lengthy hiatus (Basia Bulat, Johnny Flynn), 2013 was filled with an impressive series of releases from more established acts. That's not to say there weren't impressive debut records to be found this year but rather, there was deluge of excitement-stirring announcements from bands newly out of the studio or that had finally gotten the go ahead from their label and/or distributor to make this their year. This year's list, like last year's, features a collection of my favorite records released this year in no particular order other than how they came in to memory.

The Dodos - Carrier
San Francisco duo The Dodos might very well be one of the most underrated "popular" bands going right now. Around the release of their albums, there's a justifiable buzz of interest that always seems to fizzle out a week or two after the record. Maybe that's just in my circle but they're a band with an incredible level of consistency while also offering up remarkably good ideas. 2011's No Color was an all around winner and this year's full length Carrier ups the ante a bit. In part a tribute to the recently departed Chris Reimer of Women, the guitar stars on Carrier in a way that it hasn't really been spotlighted before. Sure, there's still the percussive momentum that galvanizes the duo's oddly accessible guitar rock stylings but strives to be and achieves the goal of being the duo's most introspective album. Each of the album's tracks has absolute magnificent moments of beguiling melodic work and Meric Long's expansive experimentation with different guitar tones and curtails Kroeber's energetic drumming for emotional depth and a much more lyrical focus. It's an album that takes what worked well on No Color (backing vocals and strings) and utilizes them again while expanding them and pairing them up with new ideas. Carrier perfectly balances those moments of quiet, rumination ("Relief", "Death", "The Ocean") with moments of liveliness and jubilation ("Substance", "Confidence", "The Current") sometimes doing so in the same song ("Transformer", "Destroyer").

Lucius - Wildewoman
I still remember my initial discovery of female-fronted Brooklyn pop rock quintet Lucius - it was perhaps my most visceral response to live music in my entire history of attending live shows. Normal show etiquette seemed an unfathomable burden to me. Who was this band? Where did they come from and how was I only now discovering them? How the hell were they so damn good? These are the questions I wondered aloud in a crowd of showgoers who probably wanted nothing more than for me to shut the hell up and enjoy the show. Lucius, with their 60s girl group retro rock vibe and infectious melody and head-spinning harmonies, were easily one of my favorite new bands and their live energy was unmatched. While I lamented that last year's self-titled EP failed to capture the true spirit of their live show, I had hope that when the fivesome finally put their debut album into the world all would be well. They didn't. Wildewoman, while featuring all five members as a band instead of focusing merely as a spotlight for Jess Wolfe and Holly Laessig future separates the group from their electric live energy. The songs that carried over from the EP are remixed, reproduced toward a far less organic center. "Hey, Doreen", the album's true pop behemoth is a multitude of layers that's notably difficult to pull off live. And yet, even with its production choices, Wildewoman is a gem of an album. The new tracks full of Lucius' trademark smiling, winking charm ("Wildewoman", "Nothing Ordnary) or resonant emotive core ("Tempest", "Monsters").  While others like "Two of Us On the Run" "Until We Get There" and "How Loud Your Heart Gets" spotlight the ladies' ferocious and soulful vocal prowess while relying very little on the group's formidable pop chops. Wildewoman is a balanced effort which feels a whole lot more inclusive than last year's EP. It's a debut album of practically overwhelming strength even if it neglects to make proper use of the band's full potential.

Steve Gunn - Time Off
I would've missed the boat entirely on Steve Gunn's excellent, excellent record Time Off if it didn't come with the highest of recommendations from Daughn Gibson when I tapped him to participate in this year's blog birthday playlist extravaganza. Steve Gunn has and will probably continue to receive comparisons to all the greatest guitar players of all time and for good reason - Gunn's guitar prowess is awe-inspiring. Not in the flashy showman way of rock guitarists but for Time Off's thoughtfully spun narratives, Gunn wields his guitar as an extension of himself - indulging in a great deal of musical world building before the first verses are even sung. His melodies are vibrant and memorable, simple in terms of their pleasant ear-catchingness but complex in the dazzling array of colors he infuses his tunes with his instrument alone. Time Off is all wind-swept sketches that fully embrace less is more and is all the more impressive for it. Gunn's smooth uncomplicated rambles are paired perfectly with his effortlessly clean bluesy guitar lines and the results are pure synergistic excellence where the journey IS the reward.

Little Tybee - For Distant Viewing
Little Tybee's third full length record is a true testament to taking your time to really allow a record to gestate. Originally slated for a release right on the heels of 2011's Humorous to Bees, circumstances caused the album to be delayed and a strong argument can be made for the positive in that. Each song on For Distant Viewing seems to take its time, stretch its legs and hang around for awhile - from its eponymous opening track which luxuriates in its rapidly shifting musical ideas and multitude of layers so much that its climactic "Get down!" is like a jolt to the system, galvanizing not only the track itself but your interest in it. Little Tybee are a band of incredibly competent musicians and For Distant Viewing probably more than any other album gives the band the space to truly display their individual talents as well as the ensemble as a whole - featuring a series of rousing instrumental breaks and intense jams.

Typhoon - White Lighter
Forgive me if it sounds like I'm gushing but bands like Portland's folk rock collective Typhoon are a rarity. Boasting a bewildering 11 member roster, they're stunningly agile - utilizing their members not only effectively but also efficiently refusing to let anyone fall by the wayside or be deployed solely as an ornament. While Kyle Morton's songwriting talents are ultimately beyond reproach, the band gathers around them like moths to a flame letting their talents mingle with his in such a way that Typhoon never feels like just a vehicle for Morton. White Lighter continues the band's life-affirming, soul-rousing brand of highly literate rock while also polishing it in a way it wasn't on previous full length Hunger and Thirst. White Lighter plays with it's own established themes, lyrics, and melodies - recalling them cyclically and climatically with greater purpose than if it discarded them when first applied making White Lighter a much more resonant album than most. It's an album of passionate epiphanous moments freely given though filtered through a rock lens so you're not really aware you've learned anything at all. But Morton's open-armed embrace of sickness, weakness, and death and Typhoon's verisimilitude make White Lighter and album that'll stick with you long after it's done playing.

Golden Suits - Golden Suits
When I heard Fred Nicolaus from Department of Eagles was working on a solo record, I was excited. When I heard Daniel Rossen was assisting with it, I was ecstatic. You see as someone who's been carrying a major torch for Department of Eagles, this was a dream come true. A potential reunion of sorts. But Fred Nicolaus' first solo record under the name Golden Suits isn't a Department of Eagles record. Not in the slightest and that is perhaps it's greatest strength. Alone, Nicolaus' talents are far more out in the open. While Golden Suits follows in a long trend of heartbreak-fueled records, it manages to distinguish itself due to Nicolaus' excellent lyrical gifts, guitar prowess, and uncanny knack for melody. Each track on Golden Suits is composed of a little memorable extra that elevate it from good to great. Considering Fred Nicolaus is no stranger to the music industry/music-making in general, it's not really a shock that the man can craft of considerable worth but what is, and pleasantly, is its subtlety and gentleness in asserting itself as such. The song Cheever-inspired character sketches frankensteined with real life inspiration that never lets itself wallow. Golden Suits is an album of half-smiles, self-aware chuckles, and the occasional frown or two but it's an album that embraces the positives of emotional devastation and starting over again. The songs are casual reflections - never ascending to "baby come back!" level of pining and reverberate with a quiet cathartic strength even as Nicolaus rattles off the occasional self-deprecating lyric. It's also features damn good arrangements that heighten everything from narrative drama to aural pleasure.

Villagers - {Awayland}
There's always talk of singer/songwriters particularly those of the folk variety of being poets but for few people is this actually true than of Conor O'Brien of Villagers. And yet, the simple, quiet resonance of 2010's Becoming A Jackal had clearly done its damage - when O'Brien and company returned late year the game was clearly renaissance. "The Waves" and "Passing A Message" with electronic-stitch sonic tapestries and grooves were a statement of purpose and yet even despite the unexpected 180, O'Brien's narrative voice - of pitch-perfect descriptive lyricism was present if not honed. {Awayland}'s songs cover a dramatically different scope of emotions - no doubt born from the live energy cultivated from a touring behind the first record but also filled with an excitement of new paths tread. {Awayland} manages to keep what has worked well with Villagers in the past while also engaging in a great deal of reinvention. O'Brien's lyricism is clearer, more eloquent, and far more visceral that comes off as a very natural progression for Villagers.

The Heligoats - Back to the Ache
The Heligoat's frontman Chris Otepka has always had a way with the English language - elevating mundane details to high revelance due mostly in part to his own fascination with them and an ability to deftly use his words to make them something of interest. While Goodness Gracious dealt with a lot of the bigger questions we ponder - Back to the Ache shrinks down the focus to a molecular level. While also taking Otepka's curious attention to the details and employing in on whole level entire - that of his band. Back to the Ache functions far more as a band record than Goodness Gracious with those songs not likely to suffer if stripped down and played solo (which Otepka has done) in the latest album, there's an feel that would no doubt be lost. The album is really good old fashioned indie rock - strongly so with the added benefit of Otepka's lyricism. That's essentially what makes the album - the inclusion of a noticeable full band sound while retaining Otepka front and center.

Camp Counselors - Huntress
I'm a sucker for a good, original concept and an album inspired by old horror movie soundtracks was certainly original enough to pique my interest. That it was another effort from Cemeteries mastermind Kyle Reigle was another. Huntress, the debut record from Reigle's offshoot project Camp Counselors manages to create a distinctive brand of accessible synth pop while staying true to its initial inspiration - the lyrics are dark and mysterious, the aura eerie and otherworldly, and the beats undeniable. Huntress is a record as methodically established and embellished as the rules of the genre it sees to emulate. It's the perfect example of how an simple idea - in this case Reigle's lifelong obsession - can flourish into something truly spectacular. A great concept album doesn't have to be epic - it just needs the right mix of ambition and excitement and Huntress is a testament to that. Tremendously enjoyable in its own right while laying the groundwork for Reigle's further experimentation distinguishing it as far more than a fun throwaway and more as a benchmark of innovation.

Son Lux - Lanterns
There's something to be said of composer/arranger Ryan Lott's third outing as Son Lux. Lanterns encapsulates so much about what Lott such an interesting artist. It's no so much that Son Lux has fallen into a consistent groove as it is Lott continuously pushes the boundaries of his own creative process while offering works that are boldly experimental but still intensely engaging. Lanterns is a remarkably complex record, of that there's no question, but it's not a record that requires a lot of superfluous mythology or is challenging enough that its enjoyment isn't immediate. That's essentially my favorite thing about Son Lux and his creative process. There's a hell of a lot going on behind the scenes - as Lott cut, pastes, rearranges, and otherwise toys with the concept of linear songwriting but the end product is always something that is unquestionably beautiful but appears effortlessly so. Lott isn't the kind of experimentalist that thrives on exclusion or inaccessibility and that's always an endearing feature of his works of which Lanterns is no different; even carrying over the illumination theme of lanterns from sophomore effort We Are Rising's "Flickers" and expanding it in a whole new set of ways.

Young Man - Beyond Was All Around Me
After discovering singer/songwriter Colin Caulfield's Young Man project during the last quarter of 2012, I approached Beyond Was All Around Me, the final installation of Caulfield's Young Man moniker, with both a sense of tremendous anticipation and dread. There were, to me, so few male singer/songwriters actually discussing issues that were uniquely pertinent to a twenty-something male and I was both sad to see the project go and exciting as how Caulfield would tidy the whole thing up. One the last full length of the project, Caulfield plunges forward both in terms of his newly implemented band who imbue the album with an immediacy and spirited delivery we hadn't seen before. While Caulfield excelled at thoughtful, careful plotting on previous releases, there's no denying the excitement inducing fast-pacing. Caulfield's approach to the tail end of his saga is delighfully open ended but not frustratingly so. His future may take the form of an eternal ellipses but he does engage in a far bit of speculation. What's more, there's an incredible sense of closure gained from Caulfield's incorporation of many of the hallmarks of his other records - namely the return of string arrangements and themes. Beyond Was All Around Me is not only a perfect end to Caulfield's ruminations but also a stellar record on its own merits.

Young Dreams - Between Places
It's rare that I give in completely to total anticipation than I did upon discovering Norwegian orchestral pop group Young Dreams. Led to them by tourmate/champion Sondre Lerche, I was pretty much sold from fading strains of "Dream alone, wake together" and with each subsequent single release my enthusiasm rose and I became more and more certain that Young Dreams debut full length would be a truly worthwhile listen. Between Places exceeded all my possible expectations - expanding the sextet's tropical-inspired nostalgia-riden vibes into a full on masterpiece. On one end - it works as perfect collection of would be singles but also functions as a cohesive unit and doesn't steer clear of longform song structure - devoting a whopping 18 minutes and change towards the album's conclusion towards artistically plotted experimentations. As if the six songs that proceeded them weren't enough, Young Dreams go all out here - demonstrating their influences and overall musicianship pretty aptly. As a whole, Young Dreams' Between Places is musical escapism at is finest - recalling bright sunny days and balmy temperatures, and the optimism and thrills of youth without any of the poor decision making involved. It's an exceptional debut from a band bursting with ideas but fluent enough in pop to get them all out there patiently.  

Buke & Gase - General Dome
To say there are few bands as innovative and boundary-pushing as Buke & Gase seems a little obvious but also a bit of an understatement. Buke & Gase have essentially through pure ingenuity ultimately created a sound unlike any other, that was essentially the beauty of their debut record Riposte and General Dome proves that there's really no limits as far as the band's creativity is concerned. General Dome both manages to be completely unlike their debut while still sharing a common distinct sound - namely in the cacophonous energetic cerebral sprint that is Buke & Gase's form of music making. There is, of course, a grand arching concept to General Dome but that doesn't distract at all from it's accessibility - an accessibility that is actually rather surprising. While Buke & Gase are one of those truly rare bands where literally no genre can/will stick to them, there is no getting around the fact that their songs are distinct, memorable, and dare I say downright catchy.  General Dome expands the wonderfully psychological elements of Riposte to dramatically levels bordering on paranoia. The result is a heady rush of thrilling rise and falls - from manic screams to hushed whispers that never seems able to shake off its boundless kinetic energy or sense of unease until the album comes sputtering to is exhausted end.    

Laura Marling - Once I Was An Eagle
It's almost bewildering how British folk siren Laura Marling manages to stay so incredibly consistent release after release. Her latest effort Once I Was An Eagle is both a more ambitious and more intimate spin on Marling's distinctive brand of narrative driven folk rambles. While just the first four suite of songs is enough to nominate it for absolutely everyone's surefire favorite, through stripping down Marling and collaborator Ethan Johns get downright creative with the accompaniment. As if her normal way, Marling's songs are both frustrating mysterious and boldly telling at the same time. As the line are further blended between fiction and fact, Marling stays true to a couple of her pre-established fascinations - water, scorned women, and all-consuming passion. In a weird way, it's by noticeably shifting the focus away from her to the super and preternatural that makes Marling's songwriting all the more curious. Despite the unecessary speculation of when/where Marling is talking about her experiences directly or in elaborate metaphor, Marling's songs maintain their simple poetry that remain as relatable as ever.

Mutual Benefit - Love's Crushing Diamond
There is a certain amount of balance and finesse that must be applied to musical catharsis. Too much wallowing and a whole album can feel cloying and claustrophobic maybe even the wrong kind of depressing. Too light and the endeavor can seem a tad bit trite. Like the problems presented aren't worth relating too if the singer themself isn't too bothered by them. But thankfully Mutual Benefit has no such difficultly. Where Jordan Lee and his collaborators succeed is not only in providing a valid and viable alternative to your standard pop in its articulately formed textural layering but in the rather small scale epic presentation. Love's Crushing Diamond is a journey, both of Lee's own experiences and through it's own bit of forward momentum. It's an album that's astonishing relatable; courageously vulnerable without sounding like entries out of a sad boy's diary. There's something to be said for the musicianship of it all - cyclical in its scope and played with pitch-perfect tenderness and managing to captivate not only with Lee's stellar songwriting but with its effortless use of space. Love's Crushing Diamond is a truly special record that manages to reach the perfect balance of rugged individualism and an endearing sense of universality.




Honorable Mentions:
Brazos - Saltwater

Chris Holm - Kilos

Emily Reo - Olive Juice

Friend Roulette - I'm Sorry You Hit Your Head

Genders - Get Lost

Radiation City - Animals in the Median

San Fermin - San Fermin

Secret Mountains - Rainer

Wild Ones - Keep It Safe

Chris Holm - Kilos (2013)

After quite a bit of teasing and endorsements from Sondre Lerche and Young Dreams, Norwegian guitarist Chris Holm's debut album Kilos finally sees the light of day after a year in limbo. Thanks to Lerche and his wife Mona who directed a music for the first single, we've heard "When I Die" and it's been a year full of anticipation, at least for me.

From album opener, "H.A.A.R.P." with it's rap sampling tropicalia fusion, you're not exactly sure what you're going to get with Kilos and that's perhaps the most exciting thing about it. Chris Holm's debut is an album of fun but worthwhile experimentation. Occasionally balmy interludes ("Problem with You", "You Know the Drill"), jangly guitar pop ("When I Die"), and jazzy grooves ("Raleigh's Peak", "Bicycle"), Kilos is the kind of album that never does the same thing twice and contains some driveby moments of lyrical prowess like "Sealed" "Love is a lie but I want to taste it", it's an album that contains within it some rather dark subjects (the forerunner being "Violence Comes from Silence") dressed up rather vibrantly but just short of obscuring what's actually being said.

Kilos is a scenic exploration of Chris Holm's musical influences and multi-instrumentalist talents that despite it's various genre leaps manages to remain coherent and enjoyable. It's an album that's very clearly of Holm's own make, retaining a certain one man starkness regardless of amount of instruments you hear. It's the introduction of a man who for the majority of his career has stayed out of the spotlight electing instead to contribute stealthily to the the whole. And Holm's solo debut, comes across very much so. It's an album of charming musical moments and clever experimentations that doesn't insist on its own glory. Kilos is an collection of Holm's musical thoughts quietly stewing in his own brilliant talents waiting to be discovered.

Kilos is out now digitally on Éllet Records and is available for streaming on Spotify.

Listen: Chris Holm - "H.A.A.R.P"

If you follow the actions of Norwegian orchestral pop sextet Young Dreams, you might've heard guitarist/vocalist Chris Holm's "H.A.A.R.P" before. Awhile back they created a mix for Under the Radar's artist mixtape series and they slipped this little gem on there. And hopefully you've heard of Chris Holm before - besides being Young Dreams gritty rock guy, he's been a member of Sondre Lerche's backing band and even had the first single for his upcoming solo debut record Kilos directed by Sondre Leche's wife Mona.

And while the first single "When I Die" was every bit of a gritty rock jam, opening track "H.A.A.R.P" shows you really can pin Chris Holm down. Featuring hip hop samples almost extensively about halfway through that all changes and the sort of tropical leaning sound reminiscent to Young Dreams shine through. It makes  a strange sort of sense and even Holm's pillowy soft vocals carry a message befitting of the rap selection that preceded them.



It's enough to make me just kind of shrug when attempting to figure out what sort of record Kilos is going to be. Luckily that won't be too long as Kilos will be out everywhere digitally on September 20th.

Watch: Young Dreams - "Footprints"

When it was announced that the next single from Norwegian orchestral pop sextet Young Dreams would be "Footprints", I was elated. In addition to being one of my absolute favorite tracks on the pretty immaculately spun Between Places, I was excited to see what frequent collaborator Kristoffer Borgli would do with the jubilant track.

Considering the previous videos for "Fog of War" and "First Days of Something" seemed to both disregard and utilize the tracks' lighter moods for dramatic effect - creating interesting dark narratives soundtracked by Young Dreams' mirth, I was intrigued how to Borgli would proceed here. Instead of spin an entirely new tale, "Footprints" revisits Young Dreams' rather brief past. Using cuts from their Modular Studio sessions as well as bits and pieces from their previous music videos (even going as far back as "Young Dreams"), it's a nice little retrospective of just how much the band has achieved in a rather short time-frame. Not all the selected scenes are happy ones but the lightning-in-a-bottle joyfulness of "Footprints" is inescapable.

Borgli's video for "Footprints" is a well-deserved celebration of  a rather young band that's enjoying a bit of success. A success I hope continues for as long as Young Dreams continues to make good music. Here's hoping that's a long, long time.

Young Dreams - Between Places (2013)

Bergen, Norway's second largest city, tends to be a particularly rainy place. So it makes a strange sort of sense that instead of writing gloomy, dismal ballads that instead the Norwegian sextet Young Dreams turns toward warmer climes crafting a sort of bright, dreamy, and most importantly sunny style of tropical infused pop rock.

While largely marketed as a orchestral pop band, the real surprise of Between Places is that there's much more at play in Young Dreams than that. Sure, there's some rather stellar string arrangements featured among many of its key songs (The dazzling "Fog of War" outro immediately springs to mind) but the majority of Young Dreams' members wield very rock-friendly instruments. There's no denying a symphonic influence, especially when listening to sprawling 10 minute opus "The Girl That Taught Me To Drink And Fight" and its delicate ebb and flow or the choir-like stylings of "Through the Turnstiles" but many of the tracks on the album take their marching orders not from the classical-leanings but instead a very evident desire for pop mastery. They're ear-catching, the melodies simple and clear; a sort of foot-tapping danceability scattered among most of them.  It's the best of both worlds, actually. The poppy lilt carrying the songs forward while the arrangements transform them into truly memorable musical moments. The sweeping string ornaments making Young Dreams' ability to pull at heartstrings even more successful, more pronounced. 

Between Places is escapism at it's finest. Not only channeling the Bergen six-piece's dreams of greener, less wet pastures but also suiting up their love songs in all sorts of fancy dressings. That's not to say all the songs rely as heavily on fantastical narratives like "Fog of War" and it's gladiator epic but they're far more than your typical sappy love songs. On Between Places, Young Dreams tap into exactly how it feels to be in the midst of youth; hopeful, passionate, vaguely nostalgic but always forward-looking. 

Young Dreams' incredible debut record Between Places is out now worldwide. You can stream it here as well as buy it from the wide majority of retailers. I highly recommend doing so. 

Watch: Young Dreams - "First Days of Something"

For their second team up with director Kristoffer Borgli Norwegian orchestral pop rockers Young Dreams provide less of a music video and more of a short film. The video for "First Days of Something" begins very much like the one for "Fog of War" with the protagonist narrating a crucial point of drama through which the rest of the videos plot tries to extrapolate upon. In this instance, the narrator has just broken up with his girlfriend and debates moving away to go back to Australia with his family.

After settling on his major life decision, there rest of the scenes are a hodge-podge of listlessness; of scenes almost aimlessly without direction, seemingly random with nothing of real import happening in them. He visits his hangouts but has no real fun at them, parties with friends but doesn't appear to really enjoy being there. One of the main and most relatable instances is where he narrates how he wants to listen to one song as much as he can so that he can connect that song with how he is feeling at that very instant. It's why he plugs his iPhone into the turntable at a party, why he listens to it on his snowy rambles, or why it's on pretty much every single one of his electronic devices. It's responsible for one of the the few times we see him smile.

Borgli's piece is interesting in that Young Dreams' "First Days of Something" never plays all the way through. Various parts of it are played at different points and repeated almost ad naseaum before something happens to make the songs start again. Eventually the whole thing is heard but in bits and pieces, never occurring in a single continuous line. It's an interest concept for a music video - to have the song featured but not exactly highlighted. It becomes much more about the story than it is the music accompanying it. Seemingly content with his newfound singledom, the events soon spiral into a series of anger-soaked idylls as it's revealed he's much unhappier than he appears, his only solace "First Days of Something" which he repeats incessantly.

Young Dreams - First Days of Something from Kristoffer Borgli on Vimeo.

Young Dreams' debut full length Between Places is out March 5th in the US on Modular Records.

Listen: Young Dreams - "First Days of Something"

Since the announcement of Norwegian orchestral pop outfit Young Dreams went live, I've been eagerly awaiting this moment. When we'd get another taste of their delight multi-layered jams and with their brand new single "First Days of Something", Young Dreams certainly don't disappoint. It's bouncy with a bright, sunny guitar licks that make you righteously pumped for warmer days.

With a dancier pulse, "First Days of Something" skirts more on the line of rock than their normal orchestral leanings and that's a-ok. Good to change up the formula every now and again. It also establishes Young Dreams as band full of anthems. Indie-pop's answer to the old school punk band; filled with their fair share of important things to say about youth just dressed up in crisp, clean pop rock suit and tie instead of fiery vitriol, breakneck speeds, and guitar pyrotechnics.



"First Days of Something" definitely accomplishes it's job of making you even more excited for the album than you thought possible. Luckily Young Dreams full length debut Between Places will be out  March 5th on Modular Records. Just 30 days away. Completely doable, right?

All Around Sound's Most Anticipated Albums of 2013 Playlist

It's a whole new year which means a whole new release calendar to look forward to! A handful of bands have recently started unearthing album details and waking up each day to a new announcement is the bee's knees. It's still rather early in the year meaning more are sure to roll in as well as more details and previews but until then these are the releases I'm most juiced for based not on mere speculation but an announcement of some kind. Because if it was based on who I thought was releasing an album this year, this playlist would be hours long.

The Acorn 
This year will see the end of Canadian band The Acorn's hibernation. Brought to my attention a mere couple months ago by my friend Corey it was the perfect time to get into them it seems. Without having to wait the three years since the release of No Ghost while also having enough time to explore their discography, I'm excited at what the new album Vieux Loup will sound like. No release date at present but a working title is a step in the right direction. Here's hoping more details are on the horizon.


ARMS
If you've been to any of their shows, this won't come as particularly shocking news to you but if you haven't, you might want to brace yourself. Maybe take a seat. After 2011's incredible underrated and criminally ignored sophomore record Summer Skills, ARMS are releasing an EP. When? The verdict is soon and for all intents and purposes it could drop any day now but a release is nigh. Any live show attendees might have heard a track or two or three or four from the upcoming five-song EP and well, I'm be straight with you: They're pretty damn great. Capturing the dramatic literary lyricism that drew me to them to the first place and pairing it with some absolutely astounding musical moment of the powerpop persuasion, I couldn't speak more highly of the forthcoming EP if I tried. And I haven't even heard it yet. But based off the 3 or 4 songs I've been lucky enough to hear, I'm willing to stake my reputation of it being one of the best releases slated for release this year. Get ready because you might never love another band more ever again. Until we can hear anything from it, here's the last song ARMS dropped - a self-remix of the title track from their sophomore record Summer Skills:



Brazos
One of my favorite new music discoveries last year was Texan turned native New Yorker Brazos aka singer/songwriter Martin Crane. His lyrics were poetic, his music full, ear-catching, and downright rocking. The strength of the introductory concert was enough to have me kicking myself for not having discovered Crane and his band all that much sooner. And yet with the release of his sophomore follow up to 2009's Phosphorescent Blues on the horizon for this year, maybe it's a good thing I didn't? I couldn't imagine being a long time fan that long having to wait nearly 4 years for new music. For those holding out that long, you have my most heartfelt sympathies. According to all the rave reviews I heard from those lucky enough to have it in their ears, the new record should be well worth the wait and makes me all that more anxious to get it in my own.

The Cave Singers 
When I say that Seattle's folk rock trio The Cave Singers were one of the best opening bands I have ever seen, I hope you don't immediately accuse me of hyperbole. Opening for Fleet Foxes back in 2011, they were a very special kind of opening band. I had heard whispers of their existence before then sure but nothing cemented my interest in them as much as seeing them rock out live. To say that I've been biding my time until they saw fit to return isn't an exaggeration. I have been and I assume when they return their set will be just as fun if not more so than what I experienced. Maybe then I can right the wrongs of a whole sold out seated venue full of people refusing to get up and dance to "Black Leaf" when asked. Maybe.


Friend Roulette 
They may have retired one of my favorite songs in their catalog indefinitely (I'm talking about the Friend Roulette EP's "Sailing Song" by the way) but the songs they've replaced it with are too incredible for me to get sore. The quirky Brooklyn chamber pop sextet has talent bubbling out it's pores and each song they write is pretty darn original and that's cause for excitement. This year, their debut full length I'm Sorry You Hit Your Head should get out of development hell and then the band can get all the praise and accolades they deserve. Seriously. For all the scores of Brooklyn bands there's few with as much originality and vision and passion as Friend Roulette. From Casablanca recalling "Or Berlin" to R&B-esque "Lie", Friend Roulette seem willing to try anything and that versatility and openness is sure to benefit them in the long run.

Guards 
In case you couldn't tell due to my incessant posting about them but I really like Guards. They take what so many bands are trying to do in the nostalgia-fueled rock vein and do so in a way that leaves very little yo be desired. It's almost impossible to explain what makes Guards work so well. Each tune we see from their upcoming debut In Guards We Trust just establishes what we already knew and why we so desperately wanted an album from the New York based trio: they're a damn good band. They manage to be both pleasant and intricate and jammy and simple without falling prey to any of the negative tendencies those involving while giving listeners and fans what they want while not being predictable about it. Guards are kind of an enigma, really but they're a rather friendly, pop song crafting one and that works just fine.

Little Tybee 

It was supposed to come out last year but due to a series of remarkably unfortunate events and the band deciding to take some extra time to make sure it was really offering up gold star material 2013 is the year of Little Tybee's For Distant Viewing. Rather nervous when they announced the album's release right after Humorous to Bees came out in 2011, I'm a little glad they took time to prioritize a stellar release over just another release in general. Especially considering the break between albums is crucial for not burning yoursef out. The few tracks we've been treated to are certainly strong enough but that extra bit of care will undoubtedly result in a far more album than anyone could possibly imagine. I'm rightfully pumped as should you be.
Little Tybee - Mind Grenade from LaundroMatinee on Vimeo.

Local Natives
I didn't really realize how much I missed Local Natives until the emerged triumphant from their latest bout of album recording. I've been a bit careless with my love for Local Natives, I'll confess. Never pouncing on opportunities to see them when I should and as the band seems poised to rocket up to bigger and bigger things, I might've missed my chance. At least without having to hardcore duke it out for my place in the Local Natives lovefest that's sure to follow after the release of their sophomore record Hummingbird. Why? After a remarkable debut, their next offering seems to be (as far as the two singles we've heard thus far will attest to) far better. Which is saying something. It's an album that's on everyone's must-have list and for good reason.


Pattern is Movement 
I'm rather late to Pattern is Movement party but better than never I say. Thanks to a sound guy at Cameo Gallery I heard and fell in love with the incredible All Together and so the news that Pattern is Movement are about to put out a new album this year is simply the best new. No idea when it'll be other than soon or what it'll be because a band like Pattern is Movement is rarely to do the same thing twice, I'm full of excitement just thinking about all the things that could be. Until details emerge this is one thing you can do to find out what you're in for: go see Pattern is Movement live. They're playing a handful of shows and have promised to play some new songs then.


Secret Mountains
A couple years of plying their trade, two EPs and one cassette of new, original material later, Baltimore psychedelic rock outfit Secret Mountains are just about ready to put their debut full length out into the world. It should be cause for excitement. Though a pretty great band from the get-go, Rainer sees Secret Mountains truly coming into their own - exploring emotional depths not yet plumped, tightening up their band sound, and making their jams that much more undeniable. If there's any justice in the world, 2013 will be a big year for Secret Mountains. The progress and sheer strength of their debut makes anything else absolutely unfair. Rainer will be out February 26th on Friends Records.


Typhoon 
After what seemed like a whole year of talking it up, it's finally 2013 and Typhoon's follow up to Hunger and Thirst and A New Kind of House EP is so close you can almost hear it. Actually a couple months ago, the Portland folk orchestra gave us a taste of what to expect from White Lighter with single "Common Sentiments" and while no details have really emerged since then, it's really only a matter of time. And then the massive sensemble will tour and all will be as it should until they disappear to record a new album. Luckily we have some time with them before that's even an option.

The Voluntary Butler Scheme
The music of English multi-instrumentalist Rob Jones is a bit of conundrum. Reading about it or even seeing it, it's a process that's shocking creative and far more complex than it's sound will have you believe. Jones crafts music very much like those of the most radical experimentalists - relying far more heavily on the precise combination of sounds and a deft hand at detail than what you'd think necessary and yet that's all part of the appeal. For the complexity and innovative forethought Jones' process possess, the sound is clear, simple, and most importantly, enjoyable. It's a sound steeped in those of old despite Jones' very current approach. The third album from The Voluntary Butler Scheme A Million Ways to Make Gold seems (at least from its first single) to be a return to form from the futuristic leaning The Grandad Galaxy but rather than be some sort of backpedal just highlights Jones' ability to create smooth, svelte pop from an arduously complex process.


Wildlife 

It's the moment I've been waiting for ever since the Toronto rockers released their debut album Strike Hard, Young Diamond. Wildlife have been hard at work on their sophomore record spiriting away to a cabin to work on songs before splitting their time between Brooklyn and Connecticut to record the thing. Meanwhile they've been keeping us informed on all the update taking wacky pictures, writing blogs, and giving hints at what to come without actually giving us anything substantial to go off of. Not yet anyway. But yesterday  the Canadian quintet revealed the title and cover art for their upcoming record ...On The Heart and I am pumped. The album will be out in the world February 26th and words don't exist to describe my excitement.


Young Dreams
After three absolutely incredible singles, the debut full length Norwegian orchestral pop collective Young Dreams is almost within reach. We've heard the grandiose gladiator-themed first single "Fog of War" and we can probably something equally as majestic, as musical, as excellent of Between Places. What's more the good news is their new album might actually bring the band stateside and that's the only thing I want right now. Between Places will be out March 5th in the states on Modular Recordings.


Young Man 
I know what you're thinking: didn't Young Man just release a new album a couple months ago? Yes, yes they did. And piggybacking an album release right on the heels of an album release is normally very very risky for fear of the songs not being as developed as they should be but if there's anyone that could put out teo amazing albums close together it's most likely Colin Caulfield. He's got such a thoughtful way with words and songwriting that you just know he took time to let the songs gestate naturally. I have complete and utter faith in Young Man that their new record Beyond Was All Around Me out April 9th is going to be super. No word yet on what it'll actually sound like but any news is good news in this case. Due to the lack of a single, I'll just post a track from Young Man's brilliant Vol. 1.

Watch: Young Dreams - Fog of War (Modular Session)

If you're anything like me, you dream about being able to see Norway orchestral pop maestros Young Dreams live. Since being tipped off their existence by Sondre Lerche's Best of 2011 Spotify playlist, I've been following the young band pretty closely hoping upon hope that they'd be some sort of announcement that they're leaving the comforts of Norway and Europe for a good old fashioned US tour. No news on that front yet but with their debut full length Between Places about to drop and a good friend in Sondre Lerche, it's highly possible that might be a good thing they have on the horizon. Or at least I'm certainly hoping so.

Until the day when I can see them without having to skip the continent, videos like these will always be a treat. Shot on a rooftop in Berlin, you get to see the core six members of Young Dreams rocking out to "Fog of War". The video is in this cool, panning circle that shows each member at a specific point in time so you can see just what they contribute to the whole. In case you were curious just how many instruments were at play on the most basic level of Young Dreams you have your answer. This and other videos like this just might tide me over until Young Dreams arrive on US shores. Maybe. Either way it's a pretty incredible live video of a pretty incredible live band. Check it out:


Young Dreams' Between Places will be out March 5th in the US on Modular Recordings.

Listen: Young Dreams - "Feels Like We Only Go Bachwards" (Tame Impala Cover)

Just when I didn't think I could like Young Dreams any more stronger than I already did they prove they're not quite done impressing me and reaching previously unknown levels of devotion. The Norwegian orchestral-pop collective decided to cover label mates Tame Impala's already pretty fantastic track "Feels Like We Only Go Backwards" and put their own little spin on it as well they should've including a clever bit of wordplay hinting at their orchestral flair: "Feels Like We Only Go Bachwards" was born.

After a rather similar intro, Young Dreams zig when you think they're going to zag exploding into a dreamy but still rocking take on Tame Impala's track. Tame Impala's sunny, backbeat jam becomes a slightly-quicker moving beasts with Young Dreams lovely harmonic arcs thrown in for good measure. And reminding us it's still very much a remix we're given a little afrobeat musical outro which pulls more unexpected tricks. There's a pretty awesome tail that quotes Bach. Resolution both compositional and in that "a-ha!" moment when you get the name change? Yes. Young Dreams, don't ever change. 

Listen to Young Dreams spin on Tame Impala:

Watch: Young Dreams - "Fog of War"

Young Dreams create music with such an epic far-reaching scope that when they announced the video for "Fog Of War", I was absolutely besides myself with excitement and glee. After discovering the gladiator-themed lyrics of the single, I had foolishly assumed they'd go with something at least partially similar to that. Wrong. If you think you know what the Norwegian orchestral pop group has up it's sleeves, chances are you're not even on the same page. I'm glad they didn't go with a more literal interpretation of the lyrics and the Kristoffer Borgli directed video is more beautiful and wonderfully cinematic than that. Beginning with a monologue spoken by the video's female lead, it foreshadows a darkness that creeps at the video's edges.

Two French teenagers left to their own devices for a time. It's more or less what you might expect: Pot-smoking, alcohol-guzzling, furniture wreckage. But even then your expectations are alluded and/or exceeded. After the young lady established the non-romantic relationship with the man-friend she invites to share her empty family home with, you're looking for romantic entanglements pretty much the whole video. Also there's an established danger that's hinted at but never quite addressed head on. The boy wields a crossbow menacing while the girl solely chuckles, he breaks probably expensive pottery and the girl and her friends follow suit, it's not until the video's end where everything really comes to a head. I won't spoil it but it's not anything you're going to guess.

And yet, as this evasively dark tale unravels, there's the jubilant strains of Young Dreams "Fog of War" which somehow makes it all okay. A pretty excellent pairing.

Listen: Young Dreams - "Fog of War"

It's hard to believe it's almost coming up on a year since I first was introduced to Young Dreams via Sondre Lerche's Best of 2011 Spotify playlist but what an almost year it's been. I fell utterly and completely in love with their "Dream alone, wake together" from one of the two singles they released last year and I've been waiting patiently for their full length debut and it seems like we're getting close.

"Fog of War" is the first official single from the forthcoming debut and simply put: it's an absolute dream. From it's percussive start to it's string flourishes, "Fog of War" is no doubt set to become much more beloved than "Dream alone, wake together" and for good reason. It's far more fast-paced and dancier but filled with lovely frills and multiple remarkable parts. The string arrangements alone enough to further prove my theory that all of the best music arrangers are from somewhere in Scandinavia.

There's also the issue of Matias Tellez and his practically overwhelming charm as he takes lead of the jubilant, dreamy track. It's a track more or less about youthful rebellion but there's no aggressiveness in it, rather of hopes and dreams delivered with a pleasant charisma that makes you nod your head quickly in agreement. It's mobilizing and the fact that its surrounded by most endearing, most engaging, and most ear-catching musicianship does it all the more justice.

Young Dreams' "Fog of War" is pretty much perfect, a unquestionable favorite that actually make me fear for the upcoming full length because if all the tracks are this caliber, I won't want to listen to anything else. Listen to "Fog of War":


Young Dreams "Fog of War" single is out in the US on October 16th with remixes by Baio, Koralleven, and Lemonade on Modular. They also have a cover of Tame Impala's "Feels Like We Only Go Backwards" off Lonerism titled "Feels Like We Only Go Bachwards" that'll be featured on Tame Impala's single out November 20th, also on Modular.

Watch: Chris Holm - "When I Die"

I know what you're thinking: Didn't you just talk about Chris Holm's "When I Die" yesterday? If not, it's certainly what I'm thinking. Well, in the time it took me to discover Chris Holm, he's just had a music video made. By none other Mona Lerche (wife of the far more famous Sondre) who's quickly establishing herself as one of my favorite new video directors and certainly making an impressing name for herself as such.

The plot is simple enough: a young Equestrian rider mourns the death of her horse and remembers fond memories of practice and morning and mid-afternoon rides, caring for it and the like and is generally distressed by the death of her beast. But then there's an modern dancing man in a horse-head mask that I'm fairly certain is supposed to represent the spirit of the horse and she regards it with all of her affection which it returns as it's man-body allows. It has the potential to take on some creepy Equus like weirdness but I think their relationship is a purer less self-destructive kind of love. There's also shots of Chris Holm shredding alone on the guitar that are pretty much the definition of awesome. Another spectacular video from Mona Lerche.

Watch the video for Chris Holm's "When I Die" from his upcoming solo debut Kilos out in the Fall.



 

Chris Holm - "When I Die"

As I mentioned in my introduction of Norwegian supergroup (for lack of a better word) Young Dreams, they bulk of their members have been apart of other successful bands and/or are distinguished solo artists in their own right. Their banding together could only result in something truly unique and we haven't been disappointed yet.

One of Young Dreams many many members, Chris Holm, is releasing a solo album Kilos in the Fall and he's got the first single up. "When I Die" combines a sort of R&B-esque beat with some sparse rather showy guitar licks. The track quiets when Holm enters and then builds bit by bit as it goes along which is a favorite compositional technique of mine.  "When I Die" is simple and yet irresistible catchy. Not at all surprising from an artist with ties to pop rock maestro Sondre Lerche. It's certainly making me excited for Kilos

Listen to Chris Holm's "When I Die":

Pitstop: Young Dreams

(Photo by Eirik Lande)

It's kind of a given now that almost everyone who opens for Sondre Lerche in concert, I will grow to love. I'd like to think that it's not just because my love for the Norwegian singer/songwriter extraordinaire spills over on to them but that it's due mostly in part to the fact that Lerche has an exception talent for picking skilled musicians to open for him. And yet, Young Dreams is a band that I didn't have a chance to see live because they only accompanied him on this European tour dates. So my introduction happened mostly in the form of Lerche talking about how they were killing it every night of tour and by earning a slot on his favorite tracks of 2011 playlist.

The Norwegian outfit is positively stacked with members, one of whom I actually recognized from my obsession with Norwegian music I had a few years back - Matias Tellez. But this massive quantity of hands helps to create a sort of orchestrally big take on tropical pop much in the vein of Lord Huron. But it's not just a rehashing of what some other guy and his band have done before. No, there's swooping, swerving, craning melodies just aching to be heard alongside sunny, jubilant dancey beats.

So while the band's only released two 7" singles (with b-sides), they're definitely worthy of some year-end lists so kudos on that to Sondre Lerche. And there's an album coming in 2012 so there's always that to look forward to.

Get a taste of Young Dreams with the debut video their track "Young Dreams":

Young Dreams from Young Dreams on Vimeo.