In late 2009, a synth version of the Flamingos’ 1959 hit "I only have eyes for you" by a band known as Summer Camp began to appear on music blogs and with every new posting came new guesswork about the identity of the chillwave newcomers. Rumours came in all shapes and sizes; pinning them to Chicago, Brooklyn and even as a group of teenagers from Stockholm who had met at a Summer Camp.

Their secrecy, which they claim came about by accident, was due to the band being: “nostalgic for mystery” and worked wonders for their explosive appearance onto the blogosphere, amid furious speculation and hype. It wasn’t until 2010 that an independent music magazine spoiled the party and revealed the true identity of the London-based duo; former solo artist Jeremy Warmsley, and Elizabeth Sankey, a former editor of Platform magazine.

Those familiar with Warmsely’s pre- steel panther vious work will be aware of his melodic pop writing abilities, which he carries with ease into this new project. This coupled with Sankey’s Debbie Harry inspired vocals creates the framework for an undeniably eighties, synth pop extravaganza which is exactly what their debut LP, Welcome to Condale, is.

Having listed John Cusack as one of their major influences it is obvious that the duo are massive fans of eighties brat pack movies (many of the tracks start with short audio clips) and this has been wonderfully translated into their music. The majority of tracks on the album sneak into a soundtrack of the aforementioned movies unnoticed and the LP manages to marvellously transport you to a different place altogether.

"Summer Camp", with its dreamy synths and organic love story is the crowning example of this; transporting the listener back to the summer of teenage romance of a younger year, while "I want you" shows the darker side of young love: ‘If I could/ I would kiss your lips so hard/ your entire face would bruise’ with an appropriate dose of overshadowing synths.

"Better off without you" is a great opening track that sets the scene perfectly and had me dancing around my room like Kevin Bacon in Footloose as did "Down", while the astral "Ghost Train" would provide an opportunity for a slow dance at any prom.

The only criticism of the album is a general absence of Warmsley’s vocals. "Losing My Mind" shows how the duo can marry to perfection his awkwardness, coupled with her shamefully over-confident vocal styles, and it is a pity that this was not exploited more.

While listening to this album, I constantly found myself delving into my past and I think that’s where the delight in this collection of tracks comes from. The duo, with love-centred teenage lyrics, and an endless multitude of eighties inspired arrangements, manage to exquisitely create a nostalgic haven that wraps up the listener, and leaves them with a reminiscent twinkle in their eye.