Iceage: For Love of Grace & the Hereafter review | Alexis Petridis’s album of the week
(Mexican Summer)
The quintet add shoegaze, country and 50s rock’n’roll to their core indie-punk sound, resulting in songs that offset lyrical bleakness with gleeful, uplifting music
Iceage have always seemed like a band in a state of constant development. You might say that’s understandable, given the Danish musicians were in their teens when their debut album New Brigade was released in 2011: if you don’t change between the age of 18 and your early 30s, you’re probably in trouble. But rock music isn’t real life, and a less adventurous band might have been minded to stick with a good thing, given the reception New Brigade was afforded. Twenty-four minutes of hardcore blended with noisy Birthday Party-esque post-punk and a sizeable pinch of gothic gloom, it was praised so vociferously that the praise itself provoked heated debate, as claims any one band are the “saviours” of an entire genre are wont to do, particularly when said genre is punk.
Iceage seemed entirely unbothered about any ensuing weight of expectation. If they didn’t exactly sound like a completely different band on 2014’s Plowing Into the Field of Love, they were still doing things you would never have imagined the authors of New Brigade doing: piano ballads, country-rock and, on Abundant Living, attempting to join the dots between Howlin’ Wolf’s Smokestack Lightning and the ramshackle sound of frontman Elias Rønnenfelt’s favourites the Pogues. In 2018, Beyondless offered Dexys-style horns, New Orleans jazz and a track that sounded like mid-80s U2 equipped with a string section. By 2021’s Seek Shelter, they had a gospel choir on board and mixed anthemic songs – imagine Oasis mired in angst, gloom and distortion – with tracks that interpolated the Carter Family’s Can the Circle Be Unbroken? or bore the influence of French chanson.
المصدر: The Guardian — Music