Chicago wunderkinds Twin Peaks have come a long way in a year. Since self-releasing an album, dropping out of school and booking their own three-week tour, the band of barely-legal punks have warranted a SXSW showcase, a couple of Pitchfork features and a slew of interviews, reviews and positive reception. Despite retaining ties to their DIY roots, these kids’ re-release of their debut “Sunken” on Aquarium Drunkard’s Autumn Tone label has suddenly shoved them into the national spotlight.

Though it seems like so many fresh-faced young musicians Š—ê like their Chicago peers Smith Westerns Š—ê are hopping on the beach-y garage rock bandwagon, Twin Peaks is hard to ignore.Their LP is undoubtedly a punk album with its runtime stretching barely as long as most EPs.

But “Sunken” feels subdued and cool without sacrificing its unapologetically loud, fun-loving spirit. It is like a hazy teenage memory Š—ê like a Wavves album had Nathan Williams not decided to move out of his mom’s house and grow up.

Each track seems to pack a quick one-two of untamed riffs with lead singer Cadien Lake James’ shrieks. The track “Stand in the Sand,” originally released as a single, is nestled casually in the middle of the LP between two equally strong tracks: the hard-hitting, mosh-worthy “Out of Commission” and the dreamy, chilled-out “Irene.” Indeed, the LP has a strong dream-pop influence that “Stand in the Sand” did not previously predict.

A common theme among reviewers has been Twin Peaks’ age, but their youth is not something that they seem keen on shrouding in a moody hi-fidelity sound. Their LP is a celebration of youth, a snapshot of freedom and summertime antics. “Sunken” is what happens when young stoner rockers mix creativity and talent with a sense of daring ambition, demonstrating their true capabilities.

It’s an awesome thing.