Thomas Dybdahl captivates audiences with his emotive live performances and heartfelt song writing. Renowned for acclaimed albums like “… That Great October Sound”, “Science”, and “Fever”, Dybdahl seamlessly blends soul, folk, pop, and jazz influences, establishing himself as a global music mainstay. Known for his soulful vocals, introspective lyrics, and genre-bending style, he now unveils “Teenage Astronauts”, a poignant exploration of adolescent relationships.
This album serves as a tribute to the friends who shaped Dybdahl’s world during his teenage years. Collaborating with lyricist Edie Kunhle Ottestad, producer Larry Klein, and Grammy-winning composer Vince Mendoza, Dybdahl crafts a rich musical landscape. Their combined efforts yield acoustic and orchestral arrangements that infuse “Teenage Astronauts” with depth and intimacy.
From the fuzzy static opening of the title track to the tender piano and guitar of “There’s No One Else On Earth” and the delicate intricacies of “Rocket Ship”, Dybdahl’s breathy vocals evoke a nostalgic ambiance throughout the album.
Thomas shares the creative process behind the album, explaining “Having Larry on board on the production side of things brings an amazing calmness to the process. I don’t profess to know exactly about what goes on in his head while working but he seems to be a strong believer in the idea that if you have done your homework well and bring the right people together with the right tracks at the right time then good things will eventually happen. Don’t stress it too much and don’t panic if what you’re hearing in the start is not 100% what you had envisioned. Which is exactly what I did the first time we worked together in 2012 on the album What’s Left Is Forever. He really helped me deal with the pressure of it all when bringing a bunch of strangers into an expensive studio for a few intense days. He just helped me trust my instincts and preparations.
This time around was very different. Instead of going into an expensive studio we rented a little house out in the desert and brought our own gear. Or as much of it as we could fit in our car basically. I wanted to do it this way because I knew I would be playing most of the instruments myself and wanted the freedom that would give me. We stayed there for 10 days and rarely left the house. I was jet lagged and found myself wide awake at 3 in the morning, which I didn’t mind at all, cause I could just go do some recording while Larry was asleep. During the days we recorded almost nonstop and just experimented with different approaches to the songs.”
Listen to the album…