B-Side Guys

The concept of artistic dormancy suggests something deceptive—that creativity simply pauses, waiting patiently for reactivation. The reality proves more complex, as Danish rock outfit The Setting Son demonstrates on “Cul-De-Sac,” their first album in 13 years. Rather than picking up where they left off, Sebastian T.W. Kristiansen and his bandmates have emerged from their extended hiatus with music that feels both evolved and essential, transforming the dead-end imagery of their title into surprising pathways forward.

Released June 6th via STWK, this 10-track collection spans just 31 minutes yet feels expansive in emotional scope, blending the band’s signature garage rock and psychedelic pop with contemporary production that enhances rather than modernizes their distinctive sound. Mixed by Christian Ki, the album demonstrates how extended time away from recording can deepen rather than diminish artistic vision, creating space for the kind of perspective that only comes through genuine life experience.

The title track opens with immediate authority, establishing both musical and thematic territory through arrangements that recall the band’s breakthrough period while incorporating subtle evolution in songwriting sophistication. Kristiansen’s vocals carry the same melancholic vulnerability that attracted Lorenzo Woodrose’s attention back when these songs existed as 4-track apartment demos, yet there’s newfound confidence in how he navigates emotional terrain that once felt overwhelming.

The production immediately showcases growth since 2012’s “Before I Eat My Eyes and Ears”—an album that earned international recognition when Little Steven dubbed “Eat My Fear” the “Coolest Song in the World” on Underground Garage radio. Where earlier recordings occasionally felt constrained by their retro influences, “Cul-De-Sac” achieves perfect balance between classic psych-garage textures and contemporary clarity.

“Spinning Around” follows with the kind of hypnotic momentum that made The Setting Son notable within Denmark’s underground rock scene. The track demonstrates how the current lineup—featuring Adam Olsson (lead guitar), Tobias Winberg (bass), and Adam Winberg (drums)—has evolved into cohesive unit capable of supporting Kristiansen’s vision while contributing individual personality. The rhythm section particularly shines here, creating foundation that’s both solid and surprisingly fluid.

“I Still Can’t Decide What I Want” arrives as perhaps the collection’s most immediately accessible offering, its jangly guitar work and infectious melody recalling the band’s bubblegum-psych origins while addressing universal themes of indecision and longing. The song’s placement as second single proves strategic—it provides perfect introduction to the band’s evolved sound while maintaining connection to the garage revival movement that originally inspired them.

“Grinding Teeth” shifts toward darker territory, its title suggesting tension that the musical arrangement supports through more aggressive guitar work and urgent rhythmic patterns. The track demonstrates The Setting Son’s range while maintaining the melodic sensibility that has distinguished them since their 2007 debut. Kristiansen’s vocals here carry particular weight, suggesting someone who has used the intervening years to develop emotional depth alongside technical skill.

“Going South” introduces guest vocalist Emma Acs, whose contributions create dialogue rather than mere harmony. The collaborative approach suggests artistic confidence that allows for external voices without compromising individual vision. The track’s directional metaphor works on multiple levels—geographic movement, emotional descent, artistic exploration—creating the kind of layered meaning that rewards repeated listening.

Mid-album tracks “Absolution” and “Spending Time With You” form complementary exploration of forgiveness and connection, both themes that resonate particularly strongly given the band’s extended absence from recording. These songs demonstrate Kristiansen’s growth as lyricist, addressing complex emotional territory with directness that avoids both sentimentality and cynicism.

“I Got My Head Somewhere Downhill” provides necessary breathing room through its more contemplative approach, proving The Setting Son’s ability to create atmosphere without sacrificing melody. The track’s introspective quality contrasts effectively with surrounding material while maintaining album’s overall momentum.

“(Do You Even Know) It” serves as penultimate statement, its questioning title reflecting uncertainty that pervades much contemporary existence. The arrangement builds gradually toward release that feels earned rather than manipulated, demonstrating sophisticated understanding of emotional pacing within album construction.

Closing track “Sleep (Dedicated to Heinzz)” provides perfect conclusion through its tribute to late friend and organist Henrik “Heinzz” Malm. Rather than maudlin memorial, the song celebrates creative collaboration while acknowledging loss’s inevitable presence within artistic communities. The track’s gentle momentum and layered instrumentation create send-off that feels both final and open-ended.

Throughout “Cul-De-Sac,” The Setting Son demonstrates why their music continues resonating with fans of garage revival and psychedelic pop despite never achieving mainstream international success. The album’s exploration of “themes of loss and renewal” proves authentic rather than calculated, emerging from genuine experience rather than conceptual framework.

The band’s decision to return with three demo albums in 2024—featuring early recordings from their first three records—provided perfect preparation for this full return. Those releases allowed longtime fans to reconnect while introducing new listeners to Kristiansen’s creative process, setting stage for “Cul-De-Sac” to function as both continuation and fresh beginning.

What ultimately distinguishes this comeback album is its refusal to either recreate past glories or abandon core identity. Instead, The Setting Son has created music that honors their Østerbro origins while acknowledging growth that comes through time, loss, and persistent creative commitment. The result stands as compelling argument that artistic hiatuses can enhance rather than interrupt creative development, provided artists use intervening time for genuine reflection rather than mere rest.

“Cul-De-Sac” proves that some dead ends lead to unexpected discoveries, transforming apparent limitations into creative opportunities through patience, perspective, and unwavering commitment to authentic expression.