Album Review: MØL - Dreamcrush
Reviewed by Matthew Williams
There’s a very grandiose beginning to opening track “DREAM” from Denmark’s MOL, before the powerful scream from vocalist Kim Song Sternkopf hits you. I was kind of blown away and from reading about the band, I discovered that their latest album looks at “unfathomable loss and grief” yet “offers rays of almost unbearable hope” so I was intrigued and couldn’t wait to dive further into their world.
I genuinely didn’t know what to expect from this album, or from the band, as they are still quite new to me, but I always like bands who combine lyrics in their native tongue as well as English, and the angst that pours out of during “sma forlis” is particularly impressive. It’s a great mix of aggression and melancholy with that post rock substructure underpinning their compositions. This is reflected once again through “Young”, a song full of pain and misery, with the angry drums from Ken Lund Klejs, adding more sorrow and dejection.
With guitarists Sigurd Kehlet and Nicolai Busse doing a fine job across the 11 songs, the band really kick into higher levels in the middle section of the album. This is anything but bleak and depressing music, although outwardly it could be perceived that way, however, with a slight change of tempo on the opening of “Hud” it feels more reflective and emotional, as the band are taking us on their journey. “Garland” adds a more soulful insight into the quintet, yet has the textured tones of a dream sequence, before Russe conjures up some guitar wizardry, alongside some rapid drums.
“Favour” and “A Former Blueprint” follow, and it’s the mix of pace and energy that immediately stand out, with the balledesque “Favour” portraying their introspective side until they flip and pummel you with oppressive chords. The latter is a hugely enjoyable song, and in a complete 180, gives off a message of hope and positivity. What contributes so much to the album, is Sternkopf’s delivery and vocal range, and he’s evolved impressively by embracing his baritone scale.
There’s an interlude next, of just under a minute, for what reason, only the band knows, as it could just have easily been the intro to “Dissonance” which has that morose, downcast feel to it, but you get the impression that this is the band truly revealing their authentic selves to the world. “Mimic” comes out all guns blazing, with a furious sound, and some fantastic guitar work before “CRUSH” ends the album with another potent display of their talents. It’s full of tempo changes, progressive vocals and emphasises the potency of their music to go alongside their newfound confidence and vigour.
