Music Review: Marching Church, The World Is Not Enough

By Less Lee Moore

I’ve said it before: there must be something in the water in Scandinavia. How else do you explain the incredible music coming from the area? Much has been written on Popshifter about Iceage as well as the band Lower, both from Copenhagen. They’re friends who’ve toured together as well as collaborated on music, film, and photography.

Iceage singer Elias Bender Rønnenfelt has now released a solo album under the enticing moniker of Marching Church. No doubt there are those who see the phrase “solo album” associated with a 23-year-old guy who looks like Leo DiCaprio in Romeo + Juliet and roll their eyes to the heavens. But we were all 23 once. I’m certain that a lot of people reading this never unleashed music as stupendous as the last three Iceage albums when they were that age, so let’s hold off on the snark.

The title of this album, The World Is Not Enough, is apt for an artistically voracious person like Rønnenfelt. But Marching Church, despite a cover image featuring him gazing coolly at his own reflection in the mirror, is more of a viable band than an ego stroke, despite claims to the contrary by certain writers, who seem contemptuously content to paint the band with the Lana Del Rey criticism brush.

Marching Church includes Kristian Emdal and Anton Rothstein (Lower), Cæcilie Trier (Choir of Young Believers), Bo H. Hansen (Hand of Dust, Sexdrome) and Frederikke Hoffmeier (Puce Mary). Fans of these bands will no doubt be familiar with how frequently they collaborate with each other in other musical projects, so I won’t get into a family tree here. If you’re not familiar but you like Iceage or Lower, you should start Googling after you read this review.

About the album, Rønnenfelt said in a press release, “What I pictured was me in a comfortable armchair, adorned in a golden robe, leading a band while a girl kept pouring me champagne when I required it. This raised the question, ‘What sort of music would go along with this picture?’” This sounds like entire mountain of self-serving bullshit until you consider (again) that this guy’s 23 years old and most likely taking the piss, especially after a few years of near claustrophobic (but well-deserved) hype over Iceage.

And now to the music. Marching Church doesn’t really sound anything like Iceage or Lower. Or Vår or Sexdrome for that matter. What it sounds like is a bunch of young men and women who ooze talent, enthusiasm, and intelligence getting together to see what kind of trouble they can stir up while having a great fucking time doing it.

The World Is Not Enough is exceedingly unrestrained and off-the-cuff, both in the ramshackle songs and the outstanding production values. I’ve always marveled at the way Jimmy Page was able to make certain Led Zeppelin songs sound so dense yet spacious at the same time; you could practically feel the dust motes floating in the air. The World Is Not Enough is so in-your-face that it’s like the band is playing in the next room.

You can hear all the layers of everything, from Ronnenfelt’s unique bombastic vocals to the superlative musicianship to the beautiful background harmonies, sometimes with a distinct feminine touch, like the “Gawena Choir” in rousing opening track “Living In Doubt.” There’s a lot of orchestral instrumentation throughout the album, which adds both gravitas and capriciousness, and also destroys the misguided fantasies of that contingent of fanboys who insist on moshing at Iceage’s concerts.

At the same time, there are moments on the songs when the discrete elements come together in such a way as to engender disbelief that anything could sound this vibrant and intoxicating. The rousing “King Of Song” features a second and a half where the horns and Rønnenfelt’s specific brand of yelping meld so perfectly it makes the hairs on the back of the neck stand at attention. Meanwhile the song is almost radio-friendly while still sounding totally anachronistic to anything that’s played on the radio right now.

Those who aren’t sold on the idea of Marching Church might find their attention wandering during the droney “Hungry For Love” and its improvised lyrics but damn, if it isn’t a sexy piece of business. While Iceage’s lyrics have only improved with time, there’s something extraordinary about the heartbreaking “Your Father’s Eyes,” where the interplay of chimes, kettledrums, and cello is an exemplary accompaniment to the text. Perhaps the most difficult song to parse is “Calling Out A Name” with its repetitive, martial drumming, prickling guitar, and distended vocals, but it’s worth every moment.

“Up A Hill” is another arresting track, with tape loops, threatening bass, and intriguing lyrics. It builds suspense, loosening its grip in intervals, and then asserting its control again immediately afterwards. “Every Child (Portrait of Wellman Braud)” sets lyrics and contrasting vocals to Duke Ellington’s “Portrait of Wellman Braud” and the results might open up an entirely new audience for Marching Church. Or just further convince the naysayers that this is a mere vanity project. Granted, the final track, a take on Cat Power’s cover of soul classic “The Dark End Of The Street” is probably the least satisfying song on the album, yet it’s still a valiant effort.

Whatever you think about Elias Bender Rønnenfelt and his unorthodox singing, his provocative quips, or his photo shoots, the kid has got it. Furthermore, if you take away the musicians, you just have Rønnenfelt screaming into a void. Despite his (probably sarcastic) statements about Marching Church being a dictatorship, The World Is Not Enough is clearly a genuine collaboration between like-minded souls and one of the most stimulating albums of the year so far.

The World Is Not Enough was released via Posh Isolation and Sacred Bones on March 30 and 31, respectively.