Over the last decade, Iceage have managed to become one of the most divisive acts in punk and indie rock. The four records comprising the Copenhagen band’s discography –– New Brigade (2011), You’re Nothing (2013), Plowing Into the Field of Love (2014), and Beyondless (2018) –– have all been well-received by music publications. Adversely, the band’s image –– as well as some questionable choices and decisions they once collectively made as teenagers –– have allowed Iceage to become the punching bag that many fans indebted to rock music feel they need to fall asleep at night. Unsurprisingly, Seek Shelter, the band’s first album for Mexican Summer and fifth LP overall, has already become the subject of multiple “No, but this is The One, man!” jokes on Twitter by those who just absolutely love to hate this band. But in all honesty, the joke’s on them if they choose to ignore this record simply based on a preconceived bias and/or general hatred for singer Elias Bender Rønnenfelt and company. On Seek Shelter, Iceage –– aided for the first time by producer and wizard Sonic Boom (Peter Kember, formally of the legendary English psych act Spacemen 3) –– are as ambitious as ever, brining grand elements of britpop, dance, and blues rock to the fold. The end result is a remarkable nine-song set that furthers the growth displayed on Beyondless, all while demonstrating a clear plea to win over reluctant listeners that’s more welcoming than it is urgent.
The album’s first standout is “High & Hurt,” a phase-heavy, bassline driven song that is Iceage to its core. The track includes one of the best vocal performances Rønnenfelt has ever committed to tape, with lyrics that interpolate “Will the Circle Be Unbroken?,” to chilling conclusions. Ultimately, Kember’s production is on display here, highlighting a frenzy of guitar tones in a tightly enveloped space. Kember –– who has helped artists such as Panda Bear, Beach House, and MGMT create some of their finest work –– brings a wonderful array of sound play to the track “Vendetta”, beginning with an electronic beat and then incorporating various noise effects to glue the mix. Another highlight, “Dear Saint Cecilia”, is an upbeat rock track that will probably kill in a live setting one day. The more subdued “Drink Rain” finds Rønnenfelt at his most playful as he slides over one chromatic change to the next. The band takes a huge risk placing this song in the dead center of the tracklist; a risk that actually pays off because it’s easily one of the best songs the band has ever written. It leads into “Gold City” which, stylistically, pays homage to heartland rock, all while remaining completely true to the band’s messy nature and deliverance.
It should be interesting to see how Iceage will progress beyond Seek Shelter. If it ends up being the album to finally silence the naysayers, one could imagine them leaning more into the Oasis-like stylings of album opener “Shelter Song” with its anthemic choruses and gospel choirs. Regardless, Iceage will always be a band-to-watch, and hopefully Seek Shelter will convince people to listen to them, too.
