The Deer Tracks (David Lehnberg and Elin Lindfors) hail from Gävle, Sweden, where arsonists regularly celebrate Christmas by burning down the city’s oversized Yule goat. Every year, the goat is rebuilt with the knowledge that, like its forefathers, it too will end up in ashes. It’s that same casual acceptance of the surreal that permeates the experimental pop of The Archer Trilogy Pt. 3.
The album opens with “III,” a heavenly choral interlude featuring looped a cappella vocals. Its perfection is a rare moment in an album aimed at sinners rather than saints. Like Sigur Rós coated with the debris of an extended pub-crawl, The Archer Trilogy Pt. 3 is anchored by a layer of grit — be it electronics that echo the sinister undertones of Fever Ray or Karin Park, lyrics that revel in sweat and frequently break into glossolalia, or Lindfors’s quirky vocal phrasing. “Lazarus” is the closest thing that The Archer Trilogy Pt. 3 has to a traditional pop song. But even it comes complete with a kaleidoscopic smear comprised of every instrument in the studio, topped chanted chorus delivered with ecclesial fervor. The Deer Tracks’ brand of otherworldly beauty is accessible, but a wiliness to be swept up in their vision is required. Realists need not apply.