❉ Mozes and the Firstborn’s third full length album is wonderfully, dazzlingly tongue in cheek, writes Eoghan Lyng.
Hasn’t music gotten a bit sensible since the eighties? Sure, The Pixies wrote their songs about Bunuelian incision, Pulp are cocaine socialists, Damon Albarn writes his greatest work behind cartoons and Modest Mouse keep their chins above sea level. There are some esoteric saviours. But then there’s the surly Alex James telling the NME he doesn’t care about presses, the anodyne Coldplay consciously uncoupling themselves from their art, the po-faced Calvin Harris clicking behind a sartorial suit and Taylor Swift writing whole albums about the record industry. Whatever happened to the delphic abstract battiness Trex’s Teenage Dream, Klaatus’s Calling Occupants, Genesis’ Suppers’ Ready, 10cc’s The Dean and I, Mott The Hoople’s Roll Away The Stone, Queen’s March of The Black Queen, Yoko Ono’s Mrs. Lennon and Kate Bush’s Babooshka created? It’s all very excitingly dull, isn’t it, the overplayed and overrated A.M. the most exciting rock album of the last few years?
And then you stumble on an album by a band who call themselves after the biblical icon who never waited for a first born. The bearded saint waited to get on the boat with two of each specie s- more so than any other Biblical figure, he’s ripe for mockery! And they start an album chanting D-A-D over an explosion of guitars. Hands across the water to this band from the Netherlands! “I use random syllables that sound good with the melody.” They told Rock Your Lyrics. “Then I start dreaming about what I want to say in this song. Frequently there’s part of a chorus or verse that already has cool words and then I build off of that. From that point on it’s like a little puzzle that needs solving.”It sounds Burroughsian, one of the more inspiring Beat writers. So confident in their idiosyncratic pop, they simply referred to their genre of music as “Dadcore”. As someone who borrows incessantly from his father’s record collection, I’ll give them the two thumbs up they richly deserve, despite their temerity and audacity. The music is that good.
Baldy opens with a cartoon like slide, a Dylanesque harmonica incongruous to the earnest lyrics previously heard on If I. Sad Supermarket Song is one of the saddest pieces committed to a retail outfit since Mick Jones and Joe Strummer found themselves on London Calling. The choppy We’re All Saints is one of the most joyous pieces of guitar pop since Weezer’s Island In The Sun. Amen is a monster of Biblical proportions, a vestige of guitars begging the listener to keep a secret. Two-parter Fly Out gives a conceptual elegance Paul McCartney mastered beautifully on Abbey Road, Ram, Band On The Run and Venus and Mars. And their Blow Up achieves as much in three minutes as Michelangelo Antonioni did in 101.
It’s wonderfully, dazzlingly tongue in cheek, self aware in description to laugh along with the audiences. And these are recording artists aware of the confines, the controls, the chaos and the cool a studio can provide. Rich in comical rhetoric, this is a damn good glam album!
Mozes and the Firstborn European Tour Dates:
27th Jan – Berlin, Lido
28th Jan – Hamburg, Knust
1st March – Frankfurt, Das Bett
2nd March – Osnabrück, Rosenhof
7th March – Amsterdam, Bitterzoet
11th March – Paris, Supersonic
12th March – London, Shacklewell Arms
13th March – Hasselt, Muziekodroom
14th March – Utrecht, EKKO
16th March – Amsterdam, AFAS Live
❉ Mozes and the Firstborn – ‘Dadcore’ on Jan 25th via Burger Records.
❉ Eoghan Lyng is a regular contributor to We Are Cult. His writing has also appeared in Record Collector, CultureSonar, Punk Noir Magazine and other titles.