Moonbabies: Wizards on the Beach

Swedish husband/wife duo Moonbabies take a more rhythm-centric approach on their latest, the dance-heavy indie pop Wizards On The Beach.


Wizards on the Beach

Label: Culture Hero
US Release Date: 2015-04-28
UK Release Date: 2015-04-28

Moonbabies seem to be suffering a bit of an identity crisis. Coming out of the gates with “Pink Heart Mother” they’re a contemporary synth pop group, heavy on danceable rhythms and vaguely throwback vibe. By the second track “Wizards on the Beach”, however, they’re back to the moodier terrain of their earlier works, relying more on acoustic instruments. Still backed by electronic beats, the mood has suddenly changed from one of a party to something more melancholy. It’s a rather drastic shift that serves to inform much of Wizards on the Beach’s first half.

In discussing the album, Moonbabies’ husband and wife duo Corina Johansson Frick and Ola Frick explained it to be an experiment in songwriting. Focusing on rhythmically dominant songs informed by a newfound love of dance music fostered by the scene in Berlin where they were living at the time, Wizards on the Beach carries with it an air of experimentation with both style and genre, one not always fully realized.

Feeling as though the album were sequenced in chronological order, charting the evolution of their immersion into more rhythm-based compositions, you can feel the duo growing more and more confident with each passing track. By the fifth, “Bird Lay Frue”, a carnivalesque mélange of hazy, paisley psychedelia and stuttering beats, they seem to have found their footing. With this newfound confidence, the remainder of the album continues to successfully meld psychedelic and gorgeous indie pop elements with a host of beats, all lovingly embraced within a glossy pop sheen.

On “Playground Dropouts” they play with repetition to greater effect than the earlier, largely linear “Eli in the Woods”. Similarly, “24”, with its cascading harp-like figure, finds the sound they seemed to be searching for earlier in the album fully realized. In it, they manage an ideal meeting point between the acoustic and electronic, allowing the rhythm to sit front and center without sacrificing their melodic gifts as they had on the title track.

It’s an interesting creative progression that, if the above hypothesis is in fact true, is a bold move in showcasing not only their gradual immersion into a new direction, but also the creative process as a whole. But with such a strong back half, it seems a bit of a waste to have to grow into a sound with which they’re comfortable. Had they simply begun when their songwriting experimentation reached its pinnacle, Wizards on the Beach would have been a masterstroke, a near-perfect fusion of their Swedish pop aesthetics and continental electronic music.

But as presented, the album struggles to find its feet. When it does, however, it ultimately proves well worth the effort in getting there. “Summerlong Wave” is five and a half minutes of summer-y, beat-heavy bliss with the Fricks’ ethereal vocals playing off one another both in real time and decaying loops. Similarly, “Chorus” is their most hook-heavy piece here, with a chorus capable of sticking in your head for days.

Concluding as the album does on such a strong note with the epic “The Ocean Kill”, Moonbabies’ future could very well find the group continuing its more dance-informed style. Whether or not this is merely an attempt to tap into the zeitgeist remains to be seen, but at the very least they’ve managed to create three-quarters of an album that should stand the test of time when all others currently exploring similar sonic territory have faded into the background.





Dancing in the Street: Our 25 Favorite Motown Singles

Detroit's Motown Records will forever be important as both a hit factory and an African American-owned label that achieved massive mainstream success and influence. We select our 25 favorite singles from the "Sound of Young America".


The Durutti Column's 'Vini Reilly' Is the Post-Punk's Band's Definitive Statement

Mancunian guitarist/texturalist Vini Reilly parlayed the momentum from his famous Morrissey collaboration into an essential, definitive statement for the Durutti Column.

Love in the Time of Coronavirus

What Will Come? COVID-19 and the Politics of Economic Depression

The financial crash of 2008-2010 reemphasized that traumatic economic shifts drive political change, so what might we imagine — or fear — will emerge from the COVID-19 depression?


Datura4 Take Us Down the "West Coast Highway Cosmic" (premiere)

Australia's Datura4 deliver a highway anthem for a new generation with "West Coast Highway Cosmic". Take a trip without leaving the couch.


Teddy Thompson Sings About Love on 'Heartbreaker Please'

Teddy Thompson's Heartbreaker Please raises one's spirits by accepting the end as a new beginning. He's re-joining the world and out looking for love.

Love in the Time of Coronavirus

Little Protests Everywhere

Wherever you are, let's invite our neighbors not to look away from police violence against African Americans and others. Let's encourage them not to forget about George Floyd and so many before him.


Carey Mercer's New Band Soft Plastics Score Big with Debut '5 Dreams'

Two years after Frog Eyes dissolved, Carey Mercer is back with a new band, Soft Plastics. 5 Dreams and Mercer's surreal sense of incongruity should be welcomed with open arms and open ears.


Sondre Lerche Rewards 'Patience' with Clever and Sophisticated Indie Pop

Patience joins its predecessors, Please and Pleasure, to form a loose trilogy that stands as the finest work of Sondre Lerche's career.


Ruben Fleischer's 'Venom' Has No Bite

Ruben Fleischer's toothless antihero film, Venom is like a blockbuster from 15 years earlier: one-dimensional, loose plot, inconsistent tone, and packaged in the least-offensive, most mass appeal way possible. Sigh.


Cordelia Strube's 'Misconduct of the Heart' Palpitates with Dysfunction

Cordelia Strube's 11th novel, Misconduct of the Heart, depicts trauma survivors in a form that's compelling but difficult to digest.


Reaching For the Vibe: Sonic Boom Fears for the Planet on 'All Things Being Equal'

Sonic Boom is Peter Kember, a veteran of 1980s indie space rockers Spacemen 3, as well as Spectrum, E.A.R., and a whole bunch of other fascinating stuff. On his first solo album in 30 years, he urges us all to take our foot off the gas pedal.


Old British Films, Boring? Pshaw!

The passage of time tends to make old films more interesting, such as these seven films of the late '40s and '50s from British directors John Boulting, Carol Reed, David Lean, Anthony Kimmins, Charles Frend, Guy Hamilton, and Leslie Norman.

Collapse Expand Reviews

Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.