[BEDROOM SOUL] Scrolling through the liner notes for Doubledutch’s long-gestating debut record, Gungle Dungn, you notice a few familiar names—shout-outs to members of parent bands Eskimo & Sons and Typhoon, Boy Gorilla Records, family and friends—before reaching one odd inclusion: contemporary neo-soul singer Alicia Keys. Though beguiling at first, a few listens in the band’s intentions become more apparent. Taking the ornate indie-pop template of Eskimo & Sons and adding a few shades of, well, soul, the duo of Jordan Bagnall and Dhani Rosa have made a convincing homage to pop of both the widespread and bedroom variety. And for the most part, it works.

Rosa is quoted as saying Doubledutch’s intent was to make a “psychodelic soul” record, and while things never get too creepy, the mostly slow- to mid-tempo pace of the songs and warmth of the recordings definitely take Keys’ catalog to heart. After a brief intro, Gungle Dungn kicks off with the aptly titled “Sugar,” an instant jolt of jittery, circular keyboards and sultry vocals that sounds like a younger, hungrier Mates of State.

The record—named after the recording studio in Rosa’s pad—rotates from bouncy, key-heavy numbers to the slow waltz of “Ghosties” and the sparse, plucked finale of “Schmwalts.” Rosa, Eskimo & Sons’ main songwriter, takes a back seat here, singing lead on one track and fleshing out Bagnall’s songs with all sorts of bells and whistles: clattering drum machines, reversed keyboards, and two sound-stretching techniques dubbed “NoneYr” and “BeesWax.” It’s obvious the dude has a keen ear, and Gungle Dungn just sounds amazing, revealing casual nuances with each new spin.

“Overturned” is built brick by brick, with multitracked sighs and shuffling percussion, some inviting guitar work and the faint strains of an accordion that sounds like someone walking through the room as the band plays, stopping for a second to say hello before darting off into the horizon. “When you had your chance with me,” Bagnall sings, drawing out each word before Rosa joins to finish the line. “Your bow was overturned.”

Unfortunately, some of the homespun and endearing sensibilities of the duo dissipate over the course of 35 minutes. A few of the busier tracks bury one of Doubledutch’s better qualities—Bagnall’s wobbly voice—too low in the mix. In fact, album standout “Overturned” succeeds in its simplicity; instead of fighting for space with the orchestration, Bagnall’s vocals are given room to wow and flutter. Let’s not forget, though, that Doubledutch is still impressionably young—and with a little time (and the right break) its brand of pop might just become as ubiquitous as its idol’s.