Marching Church was originally a solo project for Iceage vocalist Elias Bender Rønnenfelt. With two previous EPs already released under the moniker, 2010’s “At Night” and 2012’s “Throughout the Borders” (Posh Isolation), today, the artist announced that Marching Church will release a debut LP entitled This World Is Not Enough on March 30th via Posh Isolation in Europe, and on March 31st in the US via Sacred Bones.
Rønnenfelt informs us that he has also filled out the band with some mates from Copenhagen’s fertile punk scene. On the record the singer is joined by Lower’s Kristian Emdal and Anton Rothstein, Cæcilie Trier, Hand of Dust’s Bo H. Hansen, and Puce Mary’s Frederikke Hoffmeier. The singer also reports that This World Is Not Enough was influenced by James Brown and Sam Cooke, as well as David Bowie’s Young Americans and David Maranha’s Antarctica. Discussing the intense writing and recording sessions for the record, he had this to say:
“The whole month of writing and rehearsing and the one week we had in the studio was truly an explosion of ideas. Improvisation, something I have never worked with before, was crucial in the making of this album, considering the loose nature of the writing on some of these songs. The album works because of the band’s incredible ability of breathing life into these, at times, very simple ideas and experiments.”
“Hungry For Love” is our first listen in on the upcoming album, and it’s a combustive display of Rønnenfelt’s vocal powers. The track begins with a rhythm that simmers just below the surface and whispered Spanish vocals–setting the stage for this tale of voracious desire. Soon, guitar tones knife thru in icy sheets, as the vocalist’s familiar drunken roar begins to take shape. Before long, raw unbridled lust erupts from the vocalist, whose ability to command a space has become total! On “Hungry For Love,” he uses his voice like a weapon, not afraid to bully the listener for attention, even while teasing a brutal tenderness. There’s something so undeniable and riveting in the artist’s delivery that even though the “pay-off” here smarts, he still leaves you wanting more of the abuse.
