Iceland has produced some amazing musicians over the years, particularly in the post-rock and ambient sections of the music world. Another Icelandic band, the six-piece group known as Of Monsters And Men, has now made its mark as a future indie-folk power with its first full-length album titled “My Head Is an Animal.”
The foundations upon which this album are built are warm washes of background sound, with the occasional twinkling or nimbly plucked melody. The star of the album, playing on this foundation, is the combined female and male vocals on the album. While the female vocalist is a bit stronger than the male vocalist ““ his voice is a bit thin at times ““ both intertwine to create a musical atmosphere that occasionally approaches the caliber of the Civil Wars.
Another feature of the album that can’t be ignored is the outstanding songwriting on display throughout the entirety of “My Head Is an Animal.” From song to song, the lyrics succeed in addressing themes both common and more obscure. But even in the more conventional love songs, Of Monsters And Men boasts lyrics that elevate the songs with their figurative and almost literary depth.
For example, the album opens with “Dirty Paws,” which sets the vocal cadence that endures for much of the album. Most of the vocals proceed at the pace of either a walk or a jog. And while that occasionally makes the songs feel a bit repetitive, it also makes the album the perfect set of songs to listen to while walking around and reflecting on issues large and small.
“Dirty Paws” is also another perfect example of the lyrical quirks of the album. In this case, the lyrics detail a mental questioning in the form of nature in flux: “The forest of talking trees / They used to sing about the birds and the bees.” The song paints the picture of an ecosystem that is no longer quite as prosperous as it used to be; and for some reason, it’s very affecting. In addition to the lyrics, a delicate melody trades off between acoustic guitar and piano to great effect.
Perhaps the most arresting lyrical effort on the entire album, however, is “King and Lionheart,” which offers a lyrical and mythical take on the traditional love song. The song’s lyrics establish love interests as partners against a meaner, stronger world: “Howling ghosts, they reappear / And mountains that are stacked with fear / But you’re a king and I’m a Lionheart, a Lionheart.”
Over the course of the middle of the album, Of Monsters and Men continues with its excellent musicality, at times flirting with repetitiveness but managing to avoid it with the help of melodies and songs which are uplifting and unabashedly epic.
Two songs at the end of the album “My Head Is an Animal” really elevate it to new heights. “Sloom” is an absolutely beautiful song that tells the story of the narrator’s desperate desire for love from his parents for himself and for his siblings: “So love me, mother / And love me, father / And love my sister as well.” The word “sister” is replaced with “brother” in repetitions of the chorus.
“Yellow Light” serves as the perfect finale to the band’s effort. Primarily instrumental, the song begins featuring a delicate chime melody that manages to be both softly beautiful and majestic at the same time. The song eventually crescendos into an ethereally epic instrumental portion that includes some group vocals ““ another prominent feature of “My Head Is an Animal.”
“My Head Is an Animal” is not a perfect album. It does, at times, sound a bit similar from song to song. Luckily, the basic formula of Of Monsters and Men’s music is so solid that it doesn’t matter. For fans of both folk music and the majestic orchestral sound of bands such as Sigur Rós, this album is not to be missed.
Email Bain at abain@media.ucla.edu.