Mozes and the Firstborn - Dadcore

  by Benjamin Howarth

published: 11 / 3 / 2019

Label: Burger Records
Format: CD

intro

Enjoyable album of 90s-influenced indie rock aimed at the paternal demographic from Eindhoven four piece Mozes and the Firstborn

Eindhoven four piece Mozes and the Firstborn have been playing since 2010, but their new album sees them attempt to launch their own genre. ‘Dadcore’ represents their attempt to bring together the music they imagine dads listen to. Making music aimed at dads hasn’t previously been something bands would openly aspire to. Being labelled ‘dadrock’ permanently derailed the credibility of Ocean Colour Scene, whose albums were routinely slagged-off even as they comfortably outsold all the bands with more credibility. Ironically, the very bands that 'Melody Maker' wanted us to listen to instead are now the influences for ‘Dadcore’. The indie kids have kids of their own now. As a descriptor and concept, ‘Dadcore’ an effective device to give cohesion to a record that would otherwise lack it, as it plays like a mixtape, jumping from one style to the next – with its head and its heart firmly lodged in the 90s. So, don’t expect any influences from the modern classical scene or future-jazz. This is an album that worships at the alter of Sub Pop, Touch & Go and Merge records. ‘Dadcore’ is packed with fuzzy guitars and grungy riffs What it also has is some excellent tunes – this isn’t just an affectionate tribute to the early 90s, it’s a careful recreation of much of the best work from that era. It’s entirely credible to imagine every song on this record being on heavy rotation on MTV2 or 'The Evening Session'. At times, the band’s tongue is in its cheek. ‘Sad Supermarket Song’ is a brilliant pastiche of 'In Utero'-era Nirvana, but the lyrics focus not on existential despair, but on the angst induced by needing to keep a well-stocked fridge. Other times, they drop in subtle Dylan references. They also show a more than passing familiarity with some of the less credible radio hits of the era (think Smash Mouth or even Barenaked Ladies). If the album has a flaw, it is perhaps that it is sometimes too jokey. There are some excellent songs here. You sometimes wish that they’d match the music with more fitting lyrics. The sense at the end of the record is of a band who could easily match some of their 90s heroes, not just imitate them. Still, this is packed with songs you’ll want to play over and over again.

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