One of the most distinct voices of the current generation, Anna von Hausswolff's sound is wide and far-reaching. From dark ambient atmospherics and organ music fixation, to noise rock momentum and neo-classical arrangements, her music always balances a primordial ritualism and contemporary applications. It is an ongoing process, one that Anna has been refining over the years. In 2018, the experimental landscapes of Ceremony and The Miraculous eventually gave way to a fully-realized vision with Dead Magic. It is the definitive point where drone monolith and experimental applications meet with off-kilter rock forms. The result is stunning, and it is a hard one to follow. Her new record, Iconoclasts reflects on the past while moving toward something new.
The noise rock tendencies echo through "The Iconoclast," the repetitive structure turning into something grand and epic. "Stardust" also follows this path; its form gestures toward a sweeter undercurrent, but it lacks some of the exquisite paranoia present in "The Mysterious Vanishing of Electra." Similarly, Anna's experimental tendencies have not subsided. The intricate sound design of "The Mouth" features a sonic collage and sampling arrangement that recalls the textural experiments of her early period. The ambient descent of "An Ocean of Time" further forges that connection, a minimalist opus that bends time around it.
But while the connection to the past is unmistakable, Iconoclasts possesses a more direct perspective. A newfound pop sensibility emerges through clearer structure, a more palatable sense of pacing, and very strong chorus lifts. It does not make the record as a whole less challenging, but it offers a more immediate payoff. "Aging Young Women" follows this motif, keeping a very concise approach and letting a strong sense of sentimentality pierce through.
And while this is a new territory for Anna, her inclination is strongly informed by the past. There is an arty post-punk aesthetic that runs through, something from the dreamy new wave vibe. "Facing Atlas" is one of the most telling moments of this influence. The electronic implementations have a strong '80s quality about them, and the structure of the track evokes the expressive grandeur of This Mortal Coil, and especially "Song To The Siren," particularly in how Anna's voice is taking over the spotlight.
The second component that provides a smooth quality for Iconoclasts is the jazz dimension, acting as a recurring inflection, which adds both textural depth and a melodic sensibility. "The Beast" sees the saxophone unfold in full majesty, the smooth narrative flowing forward. And it always appears with such a controlled sense, keeping a great balance between being adventurous and direct.
However, what is truly striking is how these additions are still fuelling the same ritualistic core. The duo vocal performance alongside Iggy Pop in "The Whole Woman" shows how these two worlds can co-exist. Similarly, "The Mouth" creates a feeling of immense vastness, of being lost in a desolate scenery, but Anna's otherworldly vocal delivery still offers something earthy and tangible.
Iconoclasts is Anna's most accessible work, but that does not mean it is not intricate and challenging. Sure, post-punk and smooth jazz ease the trip, and more immediate hooks and choruses act as anchors. But the record still runs deep. Its ritualistic presence cannot be understated, while its drone and experimental applications craft intricate sound design ,and its noise rock mechanics are still dominant. Saying that, I do not believe it eclipses Dead Magic, but it gets remarkably close.
