by Dominic Acito (@mycamgrlromance)
Five years after their well-regarded debut, Yung (the incredibly easy to listen to/incredibly difficult to find on the internet: hint google Yung Danish band), have returned with their strongest release to date. With infectious energy, captivating melodies and shimmering guitar work the band seem to have come into their own and found an equilibrium of band members’ competing musical influences. With Ongoing Dispute, these musical factions come together to create a wholly satisfying album listen. Aarhaus, Denmark’s “second city” known for its universities and fostering artistic talent, seems to be the ideal place for a band like Yung. They continue to evolve and benefit from the influence of being from this port town with its artistic community and diverse music.
Ongoing Dispute puts into song the intrusive thoughts that make their way into your mind as you drift off to sleep. Your place in society, your relationships, the ponderance of whether there is in fact that a self-help book to alleviate your woes. “Progress” laments the progression of personal development, the frustration of its slow pace. Expressing a similar sentiment, “Such a Man,” finds the vocalist measuring himself against the social stature of a rich man.
The cover is a beautifully stylistic image of what looks like a stadium with empty seats, a sight that is all too familiar in COVID times. In the context of this album, it seems like a representation of how often your own life can feel like a performance for no one. There is a strong emotional heart to this record as Yung tends to skirt the more typical post-punk topics in favor of more introspection and one’s relationship to others. Sonically it’s tempting to compare Yung to other Scandinavian post-punk bands like Lower and Holograms, but Yung could easily find themselves at home in the mid-80s DC post-hardcore scene along bands like Embrace and Rites of Spring.
While it’s easy to get caught up in the infectious vocal melodies as well as thought provoking lyrics, the musicianship is nothing to be ignored. Yung’s rhythm section remains a standout as the band finds itself settling into satisfying grooves as drumming and bass playing establish that they are not your run of the mill jangly indie punk band, but a group whose talents set a high high water mark for other bands looking to follow in their footsteps. This is especially evident with songs like “Progression” where, unusual for the genre, the guitar switches from catchy riffing to a blistering guitar solo. It’s a glimpse of Yung’s impressive musical prowess and surely a sign of more good things to come.