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Zola Jesus have the mainstream acclaim and the underground
backing, the interesting opera-singer-cum-alternative-band-front-woman
back-story and the token celebrity fan in Lady GaGa. A breakthrough
seems imminent.
Nika Roza Danilova is the voice behind the project. The biography
links her 10-year study of opera to her unique childhood in the
woods of Wisconsin ("raised by wolves"), combining her upbringing with
an interest in avant industrial, consequently starting Zola Jesus. 20%
of the above is likely to be true; any future mentions of it in
interviews will most likely receive subdued, slightly impatient
responses from the lady concerned.
But then it's something to work with, as the majority of thought
surrounding Zola Jesus comprises of little more than sheer mystery.
Danilova's voice, although always at the forefront of the mix, is
backed by abstract synths, dark and brooding, and minimal drum
patterns, all of which make up Stridulum II, an extension of the
Stridulum EP released earlier this year.
The influence of the "witch-house" genre doesn't remove any
accessibility from Zola Jesus' sound, particularly in Night - the
mini-album opener. Danilova's voice sounds far from operatic;
extending vocal chords to unreachable heights, straining her sound and
exposing a heartfelt relief in the words "In the end of the night,
you're in my arms".
Amongst the passionate cries and the darkening
electronics comes a very simple, often used melody. And it exemplifies
the fact that Zola Jesus are at their best when they stray into
complete pop territory, whilst keeping to their experimental roots.
You can say exactly the same for Bat For Lashes;
and both parties are guilty of occasionally putting pride before
potential, shying away from recording the divine pop song we all know
lies within them.
Sea Talk produces similar results to the opening track. As one of
the three extra songs added onto the original EP, it beautifully
builds up to a grand piece; immediate and anthem-like. Far too often
however, the melodies aren't developed, Danilova choosing to ground
them beneath synths that don't resonate, alongside her overwhelming
voice (see: Manifest Destiny, Stridulum, Run Me Out).
That voice is nevertheless an integral part of Zola Jesus' appeal.
Its earnestness and unique slant are the opposite of operatic
convention. Comparisons to Florence Welch may be forthcoming but as
opposed to Welch, you sense a greater awareness of lyrics with
Danilova, a history and meaning behind her words. Stridulum II is an
extensive introduction to this exciting new project but, in exposing
early weaknesses, it gives room for development.
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