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Melle Dielesen, the vocalist and rhythm guitar player for Mozes and the Firstborn<\/a>, is unflinchingly convincing. His sympathetic, almost tender, voice seeps through the cracks of the room Mozes and the Firstborn originated in (a basement, as Dielsen revealed on <\/span>NPR <\/span><\/a>in 2014). \u201cBloodsucker<\/a>,\u201d the opening track to Mozes and the Firstborn\u2019s eponymous debut LP<\/a>, is simultaneously condescending and sincere. Despite being a confrontational ballad, it\u2019s hard not to sympathize with Dielsen. This character, as disenchanted and nihilistic as he can be, creates a unique dynamic between grunge and anthem sunshine-pop, and it helps make Mozes and the Firstborn<\/em> a strong debut album. <\/span><\/p>\n Even when Dielesen gets lazy with his lyrics, the tracks are still irresistible\u00a0to sing along to. The hook\u2019s lyrics are repeated at least a dozen times on each song, so there\u2019s plenty of time to join in. \u201cI Got Skills<\/a>\u201d is so simple and repetitious that, when the audience hears it, they would be committing an injustice by not chanting \u201cSkills; I got skills, I got skills to make it through your doorway,\u201d with Dielesen.<\/span><\/p>\n Cultish, Rolling Stones-esque rhythm guitar\u00a0on tracks like \u201cPeter Jr<\/a>.<\/a>\u201d and \u201cParty Crasher<\/a>\u201d are embedded with the catchy driftiness of Ty Segall on Melted<\/em>, making them more digestible. Mozes and the Firstborn sounds helplessly fun, but Dielesen sings of helplessly succumbing to troubles, similar to\u00a0a bastardized of Montreal. Mozes and the Firstborn only sound truly solemn on \u201cHeaven<\/a>\u201d but, on balance, they recognize that solemnity will not incite their audience to chant along. <\/span><\/p>\n