Zola Jesus
Arkhon
Boomkat Product Review:
On her sixth album, Nika Roza Danilova embraces the unknown, collaborating with producer Randall Dunn and drummer Matt Chamberlain (Fiona Apple, David Bowie) to piece together her most progressive and energetic album yet. A must-hear for anyone into Fever Ray, Eartheater or Jenny Hval.
As she was beginning to come up with sketches for 'Arkhon', Danilova found herself stuck behind a creative brick wall. It was a writer's block more intense than anything she'd experienced before, and reached the point where she couldn't even listen to music for pleasure. Wracked with frustration, she realized she needed outside assistance and sent her early demos to producer Randall Dunn, and looked to drummer Matt Chamberlain to help with the album's rhythmic backbone. Between them, the three managed to come up with a sound that Danilova could lean into and use to burn through her writer's block. That's not to say the album is completely an ensemble affair - piano and voice composition 'Desire' is all Danilova - but the majority feels like a conversation between Danilova and her collaborators.
Most impressive is the record's sparkling centerpiece 'Dead & Gone', which includes widescreen string arrangements from Danilova's friend (and ZJ touring violist) Louise Woodward. This track is the key that unlocks the rest of the record - it's both minimal and lushly orchestrated, centered around Danilova's powerful voice, but letting creative light stream in from outside her headspace. Similarly, 'Sewn' feels indebted to Chamberlain, who lays down drums that give the track its chunky, distorted aesthetic; Danilova's cavernous voice is draped around a beat that screams from the mountaintop, surrounded by woozy pads and pinging staccato blips, but little else. For anyone who's been following Zola Jesus since her gloomy debut in 2008, this new set reconciles her early material with her latter day sheen - there's a willingness to douse herself in bleak noise here, but Dunn helps balance the elements, retaining a full, poppy quality without sacrificing any bite.
Early singles 'Lost' and 'The Fall' express this best, utilizing Danilova's recognizable circular vocal melodies, and meeting them with billowing drum patterns and fractal electronics. The latter is particularly impressive, reflecting '80s aesthetics and contemporary R&B simultaneously, sounding like Toto, Tangerine Dream, Kate Bush and Kelela at once. Danilova's choice to embrace collaboration has resulted in her most complete full-length in ages, it's still pop on some level, but epic, baroque, emotional and unashamedly experimental.
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Boomkat Product Review:
On her sixth album, Nika Roza Danilova embraces the unknown, collaborating with producer Randall Dunn and drummer Matt Chamberlain (Fiona Apple, David Bowie) to piece together her most progressive and energetic album yet. A must-hear for anyone into Fever Ray, Eartheater or Jenny Hval.
As she was beginning to come up with sketches for 'Arkhon', Danilova found herself stuck behind a creative brick wall. It was a writer's block more intense than anything she'd experienced before, and reached the point where she couldn't even listen to music for pleasure. Wracked with frustration, she realized she needed outside assistance and sent her early demos to producer Randall Dunn, and looked to drummer Matt Chamberlain to help with the album's rhythmic backbone. Between them, the three managed to come up with a sound that Danilova could lean into and use to burn through her writer's block. That's not to say the album is completely an ensemble affair - piano and voice composition 'Desire' is all Danilova - but the majority feels like a conversation between Danilova and her collaborators.
Most impressive is the record's sparkling centerpiece 'Dead & Gone', which includes widescreen string arrangements from Danilova's friend (and ZJ touring violist) Louise Woodward. This track is the key that unlocks the rest of the record - it's both minimal and lushly orchestrated, centered around Danilova's powerful voice, but letting creative light stream in from outside her headspace. Similarly, 'Sewn' feels indebted to Chamberlain, who lays down drums that give the track its chunky, distorted aesthetic; Danilova's cavernous voice is draped around a beat that screams from the mountaintop, surrounded by woozy pads and pinging staccato blips, but little else. For anyone who's been following Zola Jesus since her gloomy debut in 2008, this new set reconciles her early material with her latter day sheen - there's a willingness to douse herself in bleak noise here, but Dunn helps balance the elements, retaining a full, poppy quality without sacrificing any bite.
Early singles 'Lost' and 'The Fall' express this best, utilizing Danilova's recognizable circular vocal melodies, and meeting them with billowing drum patterns and fractal electronics. The latter is particularly impressive, reflecting '80s aesthetics and contemporary R&B simultaneously, sounding like Toto, Tangerine Dream, Kate Bush and Kelela at once. Danilova's choice to embrace collaboration has resulted in her most complete full-length in ages, it's still pop on some level, but epic, baroque, emotional and unashamedly experimental.
Boomkat Product Review:
On her sixth album, Nika Roza Danilova embraces the unknown, collaborating with producer Randall Dunn and drummer Matt Chamberlain (Fiona Apple, David Bowie) to piece together her most progressive and energetic album yet. A must-hear for anyone into Fever Ray, Eartheater or Jenny Hval.
As she was beginning to come up with sketches for 'Arkhon', Danilova found herself stuck behind a creative brick wall. It was a writer's block more intense than anything she'd experienced before, and reached the point where she couldn't even listen to music for pleasure. Wracked with frustration, she realized she needed outside assistance and sent her early demos to producer Randall Dunn, and looked to drummer Matt Chamberlain to help with the album's rhythmic backbone. Between them, the three managed to come up with a sound that Danilova could lean into and use to burn through her writer's block. That's not to say the album is completely an ensemble affair - piano and voice composition 'Desire' is all Danilova - but the majority feels like a conversation between Danilova and her collaborators.
Most impressive is the record's sparkling centerpiece 'Dead & Gone', which includes widescreen string arrangements from Danilova's friend (and ZJ touring violist) Louise Woodward. This track is the key that unlocks the rest of the record - it's both minimal and lushly orchestrated, centered around Danilova's powerful voice, but letting creative light stream in from outside her headspace. Similarly, 'Sewn' feels indebted to Chamberlain, who lays down drums that give the track its chunky, distorted aesthetic; Danilova's cavernous voice is draped around a beat that screams from the mountaintop, surrounded by woozy pads and pinging staccato blips, but little else. For anyone who's been following Zola Jesus since her gloomy debut in 2008, this new set reconciles her early material with her latter day sheen - there's a willingness to douse herself in bleak noise here, but Dunn helps balance the elements, retaining a full, poppy quality without sacrificing any bite.
Early singles 'Lost' and 'The Fall' express this best, utilizing Danilova's recognizable circular vocal melodies, and meeting them with billowing drum patterns and fractal electronics. The latter is particularly impressive, reflecting '80s aesthetics and contemporary R&B simultaneously, sounding like Toto, Tangerine Dream, Kate Bush and Kelela at once. Danilova's choice to embrace collaboration has resulted in her most complete full-length in ages, it's still pop on some level, but epic, baroque, emotional and unashamedly experimental.
Boomkat Product Review:
On her sixth album, Nika Roza Danilova embraces the unknown, collaborating with producer Randall Dunn and drummer Matt Chamberlain (Fiona Apple, David Bowie) to piece together her most progressive and energetic album yet. A must-hear for anyone into Fever Ray, Eartheater or Jenny Hval.
As she was beginning to come up with sketches for 'Arkhon', Danilova found herself stuck behind a creative brick wall. It was a writer's block more intense than anything she'd experienced before, and reached the point where she couldn't even listen to music for pleasure. Wracked with frustration, she realized she needed outside assistance and sent her early demos to producer Randall Dunn, and looked to drummer Matt Chamberlain to help with the album's rhythmic backbone. Between them, the three managed to come up with a sound that Danilova could lean into and use to burn through her writer's block. That's not to say the album is completely an ensemble affair - piano and voice composition 'Desire' is all Danilova - but the majority feels like a conversation between Danilova and her collaborators.
Most impressive is the record's sparkling centerpiece 'Dead & Gone', which includes widescreen string arrangements from Danilova's friend (and ZJ touring violist) Louise Woodward. This track is the key that unlocks the rest of the record - it's both minimal and lushly orchestrated, centered around Danilova's powerful voice, but letting creative light stream in from outside her headspace. Similarly, 'Sewn' feels indebted to Chamberlain, who lays down drums that give the track its chunky, distorted aesthetic; Danilova's cavernous voice is draped around a beat that screams from the mountaintop, surrounded by woozy pads and pinging staccato blips, but little else. For anyone who's been following Zola Jesus since her gloomy debut in 2008, this new set reconciles her early material with her latter day sheen - there's a willingness to douse herself in bleak noise here, but Dunn helps balance the elements, retaining a full, poppy quality without sacrificing any bite.
Early singles 'Lost' and 'The Fall' express this best, utilizing Danilova's recognizable circular vocal melodies, and meeting them with billowing drum patterns and fractal electronics. The latter is particularly impressive, reflecting '80s aesthetics and contemporary R&B simultaneously, sounding like Toto, Tangerine Dream, Kate Bush and Kelela at once. Danilova's choice to embrace collaboration has resulted in her most complete full-length in ages, it's still pop on some level, but epic, baroque, emotional and unashamedly experimental.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
On her sixth album, Nika Roza Danilova embraces the unknown, collaborating with producer Randall Dunn and drummer Matt Chamberlain (Fiona Apple, David Bowie) to piece together her most progressive and energetic album yet. A must-hear for anyone into Fever Ray, Eartheater or Jenny Hval.
As she was beginning to come up with sketches for 'Arkhon', Danilova found herself stuck behind a creative brick wall. It was a writer's block more intense than anything she'd experienced before, and reached the point where she couldn't even listen to music for pleasure. Wracked with frustration, she realized she needed outside assistance and sent her early demos to producer Randall Dunn, and looked to drummer Matt Chamberlain to help with the album's rhythmic backbone. Between them, the three managed to come up with a sound that Danilova could lean into and use to burn through her writer's block. That's not to say the album is completely an ensemble affair - piano and voice composition 'Desire' is all Danilova - but the majority feels like a conversation between Danilova and her collaborators.
Most impressive is the record's sparkling centerpiece 'Dead & Gone', which includes widescreen string arrangements from Danilova's friend (and ZJ touring violist) Louise Woodward. This track is the key that unlocks the rest of the record - it's both minimal and lushly orchestrated, centered around Danilova's powerful voice, but letting creative light stream in from outside her headspace. Similarly, 'Sewn' feels indebted to Chamberlain, who lays down drums that give the track its chunky, distorted aesthetic; Danilova's cavernous voice is draped around a beat that screams from the mountaintop, surrounded by woozy pads and pinging staccato blips, but little else. For anyone who's been following Zola Jesus since her gloomy debut in 2008, this new set reconciles her early material with her latter day sheen - there's a willingness to douse herself in bleak noise here, but Dunn helps balance the elements, retaining a full, poppy quality without sacrificing any bite.
Early singles 'Lost' and 'The Fall' express this best, utilizing Danilova's recognizable circular vocal melodies, and meeting them with billowing drum patterns and fractal electronics. The latter is particularly impressive, reflecting '80s aesthetics and contemporary R&B simultaneously, sounding like Toto, Tangerine Dream, Kate Bush and Kelela at once. Danilova's choice to embrace collaboration has resulted in her most complete full-length in ages, it's still pop on some level, but epic, baroque, emotional and unashamedly experimental.
Sand Colour Vinyl LP.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
On her sixth album, Nika Roza Danilova embraces the unknown, collaborating with producer Randall Dunn and drummer Matt Chamberlain (Fiona Apple, David Bowie) to piece together her most progressive and energetic album yet. A must-hear for anyone into Fever Ray, Eartheater or Jenny Hval.
As she was beginning to come up with sketches for 'Arkhon', Danilova found herself stuck behind a creative brick wall. It was a writer's block more intense than anything she'd experienced before, and reached the point where she couldn't even listen to music for pleasure. Wracked with frustration, she realized she needed outside assistance and sent her early demos to producer Randall Dunn, and looked to drummer Matt Chamberlain to help with the album's rhythmic backbone. Between them, the three managed to come up with a sound that Danilova could lean into and use to burn through her writer's block. That's not to say the album is completely an ensemble affair - piano and voice composition 'Desire' is all Danilova - but the majority feels like a conversation between Danilova and her collaborators.
Most impressive is the record's sparkling centerpiece 'Dead & Gone', which includes widescreen string arrangements from Danilova's friend (and ZJ touring violist) Louise Woodward. This track is the key that unlocks the rest of the record - it's both minimal and lushly orchestrated, centered around Danilova's powerful voice, but letting creative light stream in from outside her headspace. Similarly, 'Sewn' feels indebted to Chamberlain, who lays down drums that give the track its chunky, distorted aesthetic; Danilova's cavernous voice is draped around a beat that screams from the mountaintop, surrounded by woozy pads and pinging staccato blips, but little else. For anyone who's been following Zola Jesus since her gloomy debut in 2008, this new set reconciles her early material with her latter day sheen - there's a willingness to douse herself in bleak noise here, but Dunn helps balance the elements, retaining a full, poppy quality without sacrificing any bite.
Early singles 'Lost' and 'The Fall' express this best, utilizing Danilova's recognizable circular vocal melodies, and meeting them with billowing drum patterns and fractal electronics. The latter is particularly impressive, reflecting '80s aesthetics and contemporary R&B simultaneously, sounding like Toto, Tangerine Dream, Kate Bush and Kelela at once. Danilova's choice to embrace collaboration has resulted in her most complete full-length in ages, it's still pop on some level, but epic, baroque, emotional and unashamedly experimental.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
On her sixth album, Nika Roza Danilova embraces the unknown, collaborating with producer Randall Dunn and drummer Matt Chamberlain (Fiona Apple, David Bowie) to piece together her most progressive and energetic album yet. A must-hear for anyone into Fever Ray, Eartheater or Jenny Hval.
As she was beginning to come up with sketches for 'Arkhon', Danilova found herself stuck behind a creative brick wall. It was a writer's block more intense than anything she'd experienced before, and reached the point where she couldn't even listen to music for pleasure. Wracked with frustration, she realized she needed outside assistance and sent her early demos to producer Randall Dunn, and looked to drummer Matt Chamberlain to help with the album's rhythmic backbone. Between them, the three managed to come up with a sound that Danilova could lean into and use to burn through her writer's block. That's not to say the album is completely an ensemble affair - piano and voice composition 'Desire' is all Danilova - but the majority feels like a conversation between Danilova and her collaborators.
Most impressive is the record's sparkling centerpiece 'Dead & Gone', which includes widescreen string arrangements from Danilova's friend (and ZJ touring violist) Louise Woodward. This track is the key that unlocks the rest of the record - it's both minimal and lushly orchestrated, centered around Danilova's powerful voice, but letting creative light stream in from outside her headspace. Similarly, 'Sewn' feels indebted to Chamberlain, who lays down drums that give the track its chunky, distorted aesthetic; Danilova's cavernous voice is draped around a beat that screams from the mountaintop, surrounded by woozy pads and pinging staccato blips, but little else. For anyone who's been following Zola Jesus since her gloomy debut in 2008, this new set reconciles her early material with her latter day sheen - there's a willingness to douse herself in bleak noise here, but Dunn helps balance the elements, retaining a full, poppy quality without sacrificing any bite.
Early singles 'Lost' and 'The Fall' express this best, utilizing Danilova's recognizable circular vocal melodies, and meeting them with billowing drum patterns and fractal electronics. The latter is particularly impressive, reflecting '80s aesthetics and contemporary R&B simultaneously, sounding like Toto, Tangerine Dream, Kate Bush and Kelela at once. Danilova's choice to embrace collaboration has resulted in her most complete full-length in ages, it's still pop on some level, but epic, baroque, emotional and unashamedly experimental.
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