Mozes and the Firstborn – Dadcore

Mozes and the Firstborn - Dadcore

And suddenly it does not get any further: “Rock music is dead!” Where yesterday sweaty mane , rang out loud guitars and amplifiers, today there is a supposed ban on the house. Now rappers and DJs have moved into the charts, which these days more than ever rely on singles and mixtapes. But behold, even a rock band can do that! At least she claims. Mozes and the Firstborn have been using “Dadcore” since Friday. Whether the mixtape experiment of the Dutch is doing well?

“Dadcore” is intended as a “love letter” to rock music, promised frontman Melle Dieleson before in an interview. Two albums have already been released for the Eindhoven band, including The Growlers, Unknown Mortal Orchestra and Together PANGEA. The latter are also featured on the title track of the project, the first full-fledged piece of the album. A solid power pop number that does not want to be reminiscent of the old Ramones, but can not deny it. “Dadcore” is just starting to tell us what the next 39 minutes are about us: “We deserve these songs and sounds to say hello.” Let’s go!

Look to my surprise the “songs and sounds” more often than forward. Is the plate – sorry – the tape, but very good. The “Sad Supermarket Song” put the Dutchman on my ticket last year, their insane piece about a strange shopping moment, sometimes reminiscent of Nirvana’s “In Bloom”, but before the refrain turns into calmer fields and brings us the most beautiful Chorus on “Dadcore”. Amazing what can happen when the shopping list becomes a lyrics sheet.

Despite the experiment, “Dadcore” has become a melodic feel-good project. “Blow Up” screams with its drive for a TV advertising campaign for mobile phone contracts, while “Hello” tells a solemn story of a woman who frees herself from her past and faces the world with open arms. Anyone who does not like earwigs as pets should be warned about the repetitive chorus. However, the country-inspired “Baldy” could have saved the quartet, too close to genre classics like “Sweet Home Alabama”, too limited the band’s input.

Who at the sight of the tracklist one Mistakes may be guessed, may be reassuring: although each of the letter from the album title gets its own title, but they are only the tight song shreds, which should provide for the chaotic Mixtape feeling. Occasionally they seem like extracts from unused demos, but always remain mysterious and in many cases want to be heard in their entirety. On Track 6 “D (#)”, Mozes and the Firstborn will release an outstanding 90s alternative act in just 19 seconds – Beck sends his regards.

“Scotch Tape / Stick With Me”, a double track in Collaboration with US label colleague Kelsey Reckling, forms the pinnacle of the record. For the first time, the band sounds as raw on one of their full tracks as they suggest in their fragments. Not only does this streak do “Dadcore” well, they also suggest how the mixtape concept could be played beyond fragments. Reckling initiates the atmospheric restart of the piece with a vocal part, but the band could have come up with something better than a sudden fade-out to the end.

Mozes and the Firstborn present an interesting concept album with “Dadcore” try the late 20th century rock music and land a number of major highlights (“Amen”, “Scotch Tape / Stick With Me”, “Sad Supermarket Song”). Anyone who likes catchy melodies and lyrics that do not take themselves too seriously will be in good hands with Melle Dieleson and Co. Although not every track may be a hit (“Baldy”), it will be exciting in the future, in which format the band will press their songwriting. Power Punk, Grunge or Punk again? The time will tell. But then with a little more courage on the mixing desk.

About the author: Babak Kidney is editor at and moderates, among other things, the radio program “St. Pauli Sound Canteen “on the Hamburg radio station (It can also be found on Instagram)

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