Here's a warning to all you bands trying emulate that day-dreaming sound of 60s psychedelia mixed up with 90s woozy guitar shoegaze; if you don't have the song writing chops, don't even fucking bother. If you're not bringing anything new to the table in terms of song-craft and composition, what's the point in cloyingly clutching onto that sound of old you so dearly love? It won't console our boredom for your self-indulgent shimmery scheiße-gaze. Thankfully Younghusband don't get too carried away with going on an all-out retro-offensive with their debut, instead they have decided to keep it simple and let the songs take the starring role rather than the sounds.

Released by the excellent Sonic Cathedral, Dromes is a swirling and spacious affair pinned down by a clear and concise vision of nostalgic tinged experimentation. It could have been easy to bury the vocals under a miasma of psychedelic fug, yet Younghusband are intelligent and brave enough to push vocals and instrumental melodies to the very surface, whilst underneath a distinctly mysterious shadow circles ominously. Perhaps this comes from writing songs in a former drug squat.

Opener 'Running Water' begins with rhythmical acoustic strumming and downbeat, crab-apple vocals, building layer by layer the song adds angelic backing vocal harmonies and crowing guitars to mesmeric effect. 'Comets Crossed' is as retro as the LP gets, leading with a lead and bass guitar duel similar to Johnny Marr and Andy Rourke in their hey-day. What becomes quickly apparent with this album is the lack of conventional structure with verses and choruses flowing into each other without obvious defined partitions. Songs tend to be built around single ideas, drawn out and exploring each possible wrinkle and crease. Whether it be the hammering piano chords on 'Left Of The Rocks'; the galloping rhythm of 'Reunion Message' culminating with a somewhat obvious (but no less enjoyable) euphoric outro; synthetic stabs on 'Divisions' that guide the vocals to wash over jagged outcrops.

Along the way, the album is broken up with a couple of Yo La Tengo-esque instrumentals, solid indie songs such as 'Silver Sisters' and lilting lo-fi dream-pop trips such as penultimate track 'Constantly In Love'. The album's self-titled closing track acts as a defiant statement of the entire album condensed into nearly five minutes; the pounding rhythms, the harsh stabs of acoustic guitars and snare drums, eerie vocal harmonies and wailing guitar feedback. If you are going to listen to one song before taking a leap into the album as a whole, this is the one that will get your mouth watering or leave you cold.

Dromes is self-assured, brave and focussed, filled with plenty of sink your teeth into and discover new layers across multiple listens. What else can you really ask for on a debut release? Younghusband may be throwing their lot in with a style of music which can fall into the "style-over-substance" category. Luckily, Dromes stands out from its peers by virtue of confidence in the songs and compositions on show. Much like a less primal, art-driven Cryptograms, this release surely points to greater releases ahead.