The first track to surface from the album (itself available as a standalone single on bandcamp) I’m Not Dead – is a just over eight minute exposition of atmospheric instrumental rock that takes the listener in to a journey of imaginative interconnecting spacious melodies which have something of a celestial science-fiction feel in which time and motion become abstract notions.
I Am Death opens with bass strings so loose that it is possible to feel the twang of the steel springs through the speakers – meaning there is little likelihood I could pass by the first song to surface from the album without suggesting spending time in their company.
Electric Car (available on bandcamp) is a different soundscape to the introduction in late 2016 with a song that takes the listener directly to the Belgian ’70s trio Telex with a collection of current and retro electronica sweeped with a synthesised vocal and resultingly – comprehensively – summarising the rationale behind the name of the project.
The Swedish indie-rock band Firstborn released the EP Naked & Exposed: Chapter I: Dividualism yesterday.
The almost title track of the EP – Naked & Exposed which is the second of the five – is a natural extension and evolution to the sound of a band who first featured back in 2012.
Line-up changes with only the vocal and guitar of Marcus Carlzon and Joachim Ragnarsson respectively being part of the original quartet has seen the, sometimes quartet sometimes quintet, evolve from roots steeped in heavy-metal to their current fulcrum of a maturity of indie-rock without ever alienating the audience as the originating influences remain branded in to the essence of the songs.
Firstborn are currently on a six nation European tour, with another nine nights remaining, in support of the LP and if you are anywhere near, I recommend finding some time in your diary.
Whilst their previous material featured was of melancholic countenance the first of the ten ten songs on the LP, the fourth, New Chapter (released itself as a stand alone single on the 6th) has a darker shadowing to the composition generating a more foreboding presence that lumbers in to the room pressing the audience in to the corners with its oppressive brooding industrialisation.