Icelandic quartet Blindfold offer up a subdued, dreamy mix on Faking Dreams, their first release. The opening track (“Falleg Depuro”, whatever that means) has an appealing verse structure, but waiting for the chorus that never comes is a little unsatisfying. Once conventional expectations are discarded, the album can be enjoyed for what it is. “Sad Face” track takes a more traditionalist song structure; pitter-pat drums and swelling strings convey a haunting vibe, a characteristic common to Faking Dreams‘ ten tracks. The song ebbs and flows; it’s cinematic-sounding music. The instrumental “Wait” is a highlight, despite the fact that it stakes out its musical territory in the first minute and never builds on it. That’s a characteristic to most of the tracks on this album, but the approach seems deliberate, not the result of a dearth of ideas. A sense of stasis, of glacial pace, is a central musical theme on the album. An exception is “Hungry Heat” which builds to a majestic crescendo, but it’s over too soon.
There are hints of Radiohead, but Blindfold isn’t aping someone else’s style; they have one all their own. The title track has a wobbly sense to it, not unlike a vinyl record with the center hole punched ever-so-slightly off center. “Caffeine and Sleeping Pills” features even more of that wobble; so much so, you might want to sit down (or lie down) when listening to it. That off-center, out-of-tune feeling pervades the album; slightly spooky tunes and drone-y instrumentation, often (but not always) fused to traditional, occasionally almost catchy melodies.
Midtempo dream pop? Sometimes. But just as often it leans toward the progressive side of things. Post-rock, shoegaze…yeah. The album closer “Reverse” drones on for six minutes, and then just when you think it’s going nowhere, the song kicks into high gear for about forty seconds. Then it fades into drones with lots of guitar squeals. Then it rocks out for the remainder of its nearly ten-minute running time. It’s easily the best, most interesting track on the album. More like it would be better.
The cover art is reasonably evocative of the music. Desolate, icy, remote, austere, a bit foreboding. And yet a sense of beauty pervades, hanging like a fog. The nearest corollary to Faking Dreams might be Radiohead’s Kid A. Add more melody, subtract some electronics, and you’re getting close. It’s not as good as Kid A but then most things aren’t.
Most American listeners (including this one) wouldn’t recognize an Icelandic accent if they heard one, and the vocals are sung in English by a character named Biggi. Beyond that, I got nuthin’. Look them up if you want to know more.
About the Author
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day since 2018). The 4000-plus interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He regularly hosts lecture/discussions on artists and albums of historical importance (including monthly events Music to Your Ears and Music Movie Mondays), and is a frequent guest on music-focused radio programs and podcasts. In Spring 2023 he is co-teaching a history of Rock 'n' Roll at UNC Asheville's College for Seniors. He also researches and authors liner notes for album reissues -- more than 30 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, is available now from HoZac Books. Read even more about him here.