Anna Von Hausswolff : Iconoclasts
In my mind’s eye, I imagine watching as the curtains go up. A buzzing hush falls over the crowd. You can feel the collective tremble of anticipation as it ripples through the concert hall. Various instruments begin hooting, squawking and trilling as they set themselves in tune. Nervousness emanates from the musicians as palpable waves. She is coming.
The lights dim. The buzz of the crowd pitches up a notch. Finally, a single spotlight appears, showcasing an immense pipe organ in the middle of the stage. Another one snaps on, revealing Anna Von Hausswolff standing on stage left. She strides confidently to her chosen instrument, a vision of Galadriel and Lydia Tar brought to life, as she prepares to both play and conduct her magnificent new album, Iconoclasts.
The album begins with the brief instrumental opener “The Beast,” but even this abbreviated intro offers a glimpse of the kind of gothic rock, avant-jazz, and post-rock hybrid she creates with such delicate fury. The influences of the likes of Kate Bush, Tori Amos, and Fever Ray cannot be denied. Soon, Von Hausswolff’s voice veritably fills the venue with “Facing Atlas.” Her potent alto has delirious range, as she easily slips into mezzosoprano with her head voice to hit the necessary high notes.
The 11-minute title track is awash in oceans of intoxicating emotions. Despite the bleak surroundings of everyday life, this elegiac album, released on Sweden’s YEAR0001 label, somehow energizes the listener. It is easy to be awestruck by her tremendous presence and the rich layers of symphonic electro-rock she has so diligently crafted. It’s altogether another thing to be enraptured by her powerful ability to communicate deep grief alongside a resolute hope for a better future.
But the music—oh, the music. Von Hausswolff’s music infuses me with hope and optimism. It compels me to pay close attention to how she crafts this cornucopia of fantastical sounds. Her precious pipe organ provides a thick sonic foundation. Deep bass tones rumble across the landscape in a style reminiscent of ambient impressionism. Keening saxophone riffs bleat with aplomb as they twist and tumble, providing a delicious counterpoint to the human voices. Swirling guitars and heavily syncopated drum rhythms serve as the calming center for these impressive atmospherics.
The album treats listeners to a delirious panoply of guest vocalists. On “The Whole Woman,” the legendary Iggy Pop uses his gravelly baritone to deliver a meditation on aging. With “Aging Young Woman,” Ethel Cain brings her old-soul persona to bear on a tune about agency. Abul Mogard sits in on the elegant dirge that is “An Ocean of Time.” Maria Von Hausswolff, Anna’s younger sister, lends her lovely voice to “Unconditional Love,” which is both a triumphal lament and penultimate song. However, it is “Consensual Neglect” and “Struggle with the Beast”—a duology replete with a dense low end and cacophonous instrumentation—that truly encapsulates the power and heartrending moods of this record.
Iconoclasts draws to a close, a delirious combination of Joanna Newsom, Sumac, Moor Mother and Jeff Parker. The attendees in my daydream scenario burst into ten sustained minutes of thunderous applause, agog at the fusion of deft dynamics, furious feelings, and outstanding orchestration. After the curtain drops and the house lights come up, the crowd walks through the lobby of the concert hall and into the night. They must spread the word: Anna Von Hausswolff has graced us with something tremendous.
Label: YEAR0001
Year: 2025
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