The Danish band is finally out with their anticipated debut after years of lingering.

The Copenhagen boys first surfaced with their lo-fi EP, Cobblestones, released in 2014 on Posh Isolation, and have since then had a significant growth as a band before finally releasing their debut, Blue, through Fat Possum.

In spite of what the title might indicate, this debut will not leave you feeling blue. With their refreshing percussion contrasted with nostalgic guitar riffs and Martin Rehof’s distinctive vocals, Communions surface with a rather content debut.

Opening with Come On, I’m Waiting Communions already define their lyrical characteristics, playing on contrasts as much as duality. These themes follow through to other tracks, creating a lyrical fluidity within the album’s 11 songs. Come On, I’m Waiting is by no means an outstanding opening, yet it has a catchiness and distinctive edge to it making it a luscious entrance to Blue.

Speaking of fluidity of themes throughout the record, the passing of time seems to be vibrant, surfacing on Passed You By, Today, Eternity and Alarm Clocks. The first is a punch one with a flair for nostalgia. The arrangement is over all classical, though sparkles of frivolous guitar save it from getting boring.

She’s a Myth contributes some vibrant 80’s vibes. The tune flourish at the chorus as Martin Rehof pricing vocals sings “I don’t think about the future, I just do what it takes to survive.” Jacob van Deurs Formann’s tight guitar-work layers beautifully with Mads Rehof’s bass, bringing out a crooning quality to the tune. The colliding of instruments and Martin’s voice on this track, combined with it’s lyrical quality makes it possibly one of the album’s best.

Opening with a sexy bassline, Midnight Child‘s darker tones are manifested already from the first few chords. Stepping out of their comfort zone, the twisted sinister feel clinging to this tune definitely suits Communions well. Frederik Lind Køppen’s drums stand as the meticulous back bone of the tune, providing a place for the more fluid work of Formann and Rehof to play out.

Don’t Hold Anything Back ironically feels like the hold back tune on the record. A tad naive, and though nice to listen to, it feels indifferent in the context of the high quality record.

Take It All ascends with its cohesive guitar work. The layering and intertwining of the tangled chords are exhilarating. Eternity on the other hand is a spacious delivery. The timely tune features lines such as: “all these roads, they leave nowhere”, frankly, neither does this tune. However, it is a good momentum of capturing a moment.

Rounding off what has been a tremendous debut is Alarm Clocks, a track staggered with dreamy variations it’s a wish tune with a ballad-y vibe in the verse. Generally, Communions have a weakness for classical guitar chords and 80’s twists. Their indie pop debut has a punk-esque edge added in the soundscape giving it a refined edge.

Though Blue as a whole can come off a bit singular and naive in its musical art, it is over all a remarkable debut from the Danish lot.