The talent present on Snævar Njáll Albertsson's debut full-length is undeniable. In the same creative neighborhood as the criminally underappreciated Alcoholic Faith Mission, Albertsson, an Icelander now living in Denmark, crafts lush pop soundscapes awash with his cleverly worded, sharp observations of contemporary life. The album is a distinct pleasure, perhaps the best of its kind to come out this year, but as with every album that is deemed "clever," Albertsson's "Mount Modern" has the tendency to occasionally be too clever for its own good: the instrumentation occasionally feeling a little too cute, the rich arrangements leaving the shadowy side of the street in order to frolic in the sun, and the lyrics can, with repeated listening, lose some of their initial charm. That said, I'll take an album that is sporadically too smart, too layered, too happy, and too charming over the limp, anemic indie pop offerings that get hyped every other week. And when Dad Rocks! gets it right, he really gets it right -- like you want to make a mixtape for a friend with tracks off "Mount Modern" right. "Take care", one of the many highlights, balances itself perfectly between detached cynicism and intimate despair, both in its musical and lyrical approach: "And they watch the military fireworks and talk about traveling light, and there's a global spread of wasted lives which we'll later take care of with knives.""Mount Modern" is a soundtrack for those who find beauty in the winds tearing the last of the autumn leaves from the trees, who appreciate the descent into winter because they are hopeful for the spring. - Lars Garvey Laing-Peterson
is a new Danish label, home to Icelandic artist Dad Rocks! (aka Snævar Njáll Albertsson of Mimas), and wholly devoted to Creative Commons music licensing: http://fatherfigurerecords.com/ Dad Rocks!' debut album "Mount modern" will be released on November 8 with the labels (US), (UK) and (ICE) each handling it in their respective territories.
My first exposure to Alcoholic Faith Mission was quite pleasant, but, with the exception of a few tracks, it was not an enduring experience. Still, I knew there was something there, a delicate concept that had not fully formed on "421 Wythe Avenue". In my review I compared the group to acts such as Broken Social Scene and fellow Danes Slaraffenland, whose "Private cinema", while a far more ethereal work, is a kindred spirit of Alcoholic Faith Mission's gentle, yet driven take on pop music. I also noted that "There is a tragic beauty here, one that blends the emotional registers of Mixtapes & Cellmates and Moonbabies, yet remains quite distinctively an original construct, and it is this ingenuity that sets Alcoholic Faith Mission apart from many of their contemporaries." All of this remains true on "Let this be the last night we care", but the promising intimations are now fully realized -- while retaining the airy, spacious attributes of "421 Wythe Avenue", there is an anthemic, Arcade Fire-like quality permeating the compositions; for fear of waxing poetic, it is as though the intricate clouds of dust of their previous effort have found a way to manifest themselves in a more concrete fashion. "Let this be the last night we care" is brilliant -- engaging even at its most haunted and distraught moments, such as "Sobriety up and left"; moving even when playful; gorgeously layered and focused, all in the same breath. I have had the distinct pleasure of reviewing a number of very strong albums over the past few weeks, and still Alcoholic Faith Mission's stands out from the crowd. It's rare to stumble upon an album like this, one that is reminiscent enough of other acts as to be somewhat nostalgic and yet remains so markedly unique, capable of reminding us where we've been while concurrently functioning as our soundtrack to the present. - Lars Garvey Laing-Peterson
Dad Rocks!
Alcoholic Faith Mission
