Anna von Hausswolff's sixth studio album, Iconoclasts, marks a deliberate pivot towards pop, though the nuances of this transition are open to interpretation. For the past decade, Von Hauswolff has cultivated an aesthetic that is solemn, echoing with the heavy drone of her beloved pipe organ and earning her the label 'gothic'. This sonic signature has drawn comparisons to Nico and Diamanda Galás, prompting a reevaluation of what pop music can be. Iconoclasts showcases Von Hauswolff's evolving artistic vision as she weaves together disparate influences into an innovative whole.
Von Hausswolff has long been associated with avant-garde and experimental sounds, collaborating with prominent artists such as Swans, Sunn O))) and the black metal band Wolves in the Throne Room. Her last album, 2020's All Thoughts Fly, was a collection of instrumentals, performed on an antique German baroque organ in a church in Gothenburg. This unique setting lends depth to her music, underscoring its emotional resonance.
Iconoclasts, however, represents a bold departure from Von Hausswolff's previous work. The album's sound is more melodic and accessible than before, with tracks such as Aging Young Women (a duet with Ethel Cain) evoking the atmospheric quality of Lana Del Rey's music. The inclusion of Iggy Pop on another track adds a touch of familiarity, though the overall effect remains distinctly experimental.
The saxophonist Otis Sandsjö plays an integral role in shaping Iconoclasts' sonic landscape. His woodwind arrangements imbue the album with warmth and texture, particularly in tracks like Struggle With the Beast and The Mouth. However, it's essential to note that his contributions are not dominant; instead, they serve as a foundation for the more complex soundscape.
The album's maximalism is both its greatest strength and potential weakness. The sheer intensity of Iconoclasts can be overwhelming, making it challenging to fully absorb in one sitting. Nevertheless, this excess also contributes to the music's exhilarating quality, with melodies that twist and turn in unexpected ways. Tracks like Stardust surge forward with a frenetic energy, as if pushing against the prevailing mood of despair and darkness.
Ultimately, Iconoclasts is an album that feels both deeply personal and universally relatable. Its exploration of themes such as ageing, depression, and social disillusionment creates a sense of connection with listeners. In "I'm breaking up with language," Von Hauswolff sings, "in search of something bigger." On this album, she seems to have found it – a sense of purpose that is both cathartic and expansive.
In Iconoclasts, Anna von Hausswolff has crafted an album that defies easy categorization. It is a work of pop music that wears its eclecticism like a badge of honor, embracing the dissonant and the beautiful in equal measure.
Von Hausswolff has long been associated with avant-garde and experimental sounds, collaborating with prominent artists such as Swans, Sunn O))) and the black metal band Wolves in the Throne Room. Her last album, 2020's All Thoughts Fly, was a collection of instrumentals, performed on an antique German baroque organ in a church in Gothenburg. This unique setting lends depth to her music, underscoring its emotional resonance.
Iconoclasts, however, represents a bold departure from Von Hausswolff's previous work. The album's sound is more melodic and accessible than before, with tracks such as Aging Young Women (a duet with Ethel Cain) evoking the atmospheric quality of Lana Del Rey's music. The inclusion of Iggy Pop on another track adds a touch of familiarity, though the overall effect remains distinctly experimental.
The saxophonist Otis Sandsjö plays an integral role in shaping Iconoclasts' sonic landscape. His woodwind arrangements imbue the album with warmth and texture, particularly in tracks like Struggle With the Beast and The Mouth. However, it's essential to note that his contributions are not dominant; instead, they serve as a foundation for the more complex soundscape.
The album's maximalism is both its greatest strength and potential weakness. The sheer intensity of Iconoclasts can be overwhelming, making it challenging to fully absorb in one sitting. Nevertheless, this excess also contributes to the music's exhilarating quality, with melodies that twist and turn in unexpected ways. Tracks like Stardust surge forward with a frenetic energy, as if pushing against the prevailing mood of despair and darkness.
Ultimately, Iconoclasts is an album that feels both deeply personal and universally relatable. Its exploration of themes such as ageing, depression, and social disillusionment creates a sense of connection with listeners. In "I'm breaking up with language," Von Hauswolff sings, "in search of something bigger." On this album, she seems to have found it – a sense of purpose that is both cathartic and expansive.
In Iconoclasts, Anna von Hausswolff has crafted an album that defies easy categorization. It is a work of pop music that wears its eclecticism like a badge of honor, embracing the dissonant and the beautiful in equal measure.
. I mean, who else could make pipe organ sound like pop music? It's wild to see her take a more melodic approach after years of being associated with the gothic scene. And that collaboration with Ethel Cain on Aging Young Women is giving me all the Lana Del Rey vibes 
. But at the same time, the album's intensity can be overwhelming - I've had it blast in my car for hours and still need to process what just hit me 
. One thing's for sure: Iconoclasts is an album that demands your full attention 
.
The way they're trying to fit this album review into the forum just doesn't sit right with me... all these walls of text, not enough whitespace for my eyes 
. And don't even get me started on the formatting issues – it's like they took a bunch of different font sizes and styles and mashed them all together without thinking about how they'd look 
. Can't we just have some decent threaded comments for once? 
and i love it i also think the saxophonist otis sandsjö is so cool how does he play that thing 
anyway i do know some of her old stuff with swans and sunn o))) and it's like totally different but in a good way? kinda like how my favorite band changed from punk to electronic music last year 
what do you guys think about iconoclasts?
She's still so dark and moody, but now it feels more... pop? Like she's found a way to make all these heavy influences work together without losing her edge 
. The sax player Otis Sandsjö is genius 
, he brings this warmth that balances out the intensity of the album. And I'm intrigued by how she's exploring themes like ageing and depression in a way that's still super relatable 
It feels like she's tapping into something bigger than herself, you know? 
. But honestly, that's what makes Iconoclasts so compelling – it's an album that's both deeply personal and universally relatable 
. Anna von Hausswolff is speaking to something in all of us, whether we're struggling with depression or feeling stuck in a rut 
I mean, she's always been into that avant-garde stuff but now it's more... pop-ish? 
And that Iggy Pop collaboration? 