Gold Celeste is one of Norway’s best kept secrets. The band initially gained attention for the golden psych-pop sounds on their debut album, The Glow, back in 2015, and they didn’t disappoint with their follow up LP The Gentle Maverick. To wrap up the decade, we had the band compile their top tracks of the decade. A small window into their sonic universe. Happy Holidays.
—Keenan Kush, Talkhouse Operations Manager
Serena-Maneesh — “Magdalena (Symphony #8)”
Simen: This piece gives me the feeling that I appreciate most when listening to music, or any form of true expression for that matter. An immersive, otherworldly but very familiar journey through the depths of our emotions, taunting our lack of language to express them. Twisting and turning, giving the perfect amount of resistance you need for something to be worthwhile. Emil Nikolaisen and Serena-Maneesh have been essential in finding our musical identity and deserve praise for their boldness and integrity.
Radiohead — “Bloom”
Simen: The rhythms, the arrangements, the sonic palate, the vocal performance. It’s both fragile and chaotic, repetitive but growing. The name fits perfectly. It really does bloom. Johnny Greenwood is an amazing composer and Thom Yorke is the perfect mediator.
Melody’s Echo Chamber — “Quand Vas Tu Rentrer?”
Eirik: I have no idea what she is singing about, but that makes this song even more alluring. The fragile, airy synth-pattern that blends perfectly with the jazzy drums, the repetitive bassline, all the weird sounds and the soft vocals makes this one of many highlights from Melody’s Echo Chamber’s debut album.
Musette — “Little Elvis”
Petter: One of the best tracks from the warbly cassette masterpiece Drape Me In Velvet. The composition is hauntingly beautiful and it’s got a truly unique sound, lo-fi but at the same time full of details.
Tame Impala — “Nothing That Has Happened So Far Has Been Anything We Could Control”
Petter: We’ve listened to our fair share of Tame Impala this decade, even though we all fell a bit out of love after Lonerism. “Nothing That Has Happened So Far…” is the cream of the crop with outstanding drum fills and swirling synthesizers.
Foxygen — “How Can You Really”
Petter: This is sloppy blue-eyed soul at its best. The vocal melody and the way he sings it is so sweet. The varying tempo, staccato rhythms and little details here and there make it sound like early ’70s Todd Rundgren, and what’s not to love about that?
Beach House — “PPP”
Simen: The first album from Beach House really caught me, then they kind of exploded with Teen Dream and Bloom, with good songs but a more polished and clear sound. Then suddenly I heard the Depression Cherry record. It was still a little polished and stadium-ready, but it has a very uniquely Beach House quality. “PPP” has this chorus that takes me back to vacations in the back of the car listening to old cassettes with ’80s pop and me disseminating them, some chords and melodies just formed my musical identity at such a young age. This song manages to bring that forth, and for that I love it.
Tobias Jesso Jr. — “Without You”
Petter: Not since the ’70s has there been written piano ballads this good. Tobias Jesso Jr. is up there with the best of Harry Nilsson (even though Badfinger wrote his best song), Elton John, Brian Wilson, and the rest. This song and the rest of the album can give anyone an instant heartache, but in a good way. Probably my favorite album of the decade.
Mild High Club — “Windowpane”
Eirik: These chords and modulations could go on forever! The intricate play of chords and arpeggios create such a hypnotic feel. So simple, yet complex.
Ariel Pink — “Another Weekend”
Eirik: The best and most surprising chorus I’ve heard in years! Decades! Centuries!
The Sha La Das — “Okay My Love”
Petter: Daptone has released some of our favorite albums this past decade, and picking just one song from their catalog is very hard. “Okay My Love” by The Sha La Das is a perfect soul tune complete with that signature Daptone sound. The lyrics about promising to make up for lost time with your loved ones are also very relatable.
(Photo credit: Benedikte Olsen)