Artist: Zola Jesus
Album: “Versions”
Year: 2013
Website: http://zolajesus.com/
Versions is Zola Jesus’ 2013 release touting new versions of previously released material. As dreadful as compilations can be this album is well within reason if not simply for its sheer beauty. The music has been disemboweled. Its organs removed, leaving skeletal remains to be built upon. And though her modus operandi has been largely electronic, Versions is an entire different, organic creature. There is an electronic sensibility to it among some remaining electronic percussive elements but its melody is that of a string section fashioned in a chamber[1] – and it fits the skeleton like a glove.
With arrangements of the brilliant JG Thirlwell featuring the Mivos Quartet, the goth-operatic vocals of Danilova seem elevated this time around. Perhaps, she has merely had time enough to truly explore the lyrics and melody to fully expound their sometimes boisterous, sometimes subtle, splendor. Her voice is poignant. More poignant than when these songs were first christened by a pessimistic youth having an affinity for Schopenhauer while studying philosophy in Madison, WI[2].
One problem
of the compilation album as a thing
is the lack of continuity between songs and the loss of any purely defined
album structure. Versions seems to suffer from these issues significantly less than
the ever so popular Greatest Hits albums out there. It would stand to reason that this is because
of the fresh take on the songs – consistent production can go a long way. There was certainly an intention by opening
and closing the album with softer, slower tones. This is particularly highlighted by the fact
that the opener, “Avalanche” wasn't a softer, slower tone in its first
occurrence.
The renditions of “Hikikimori”, “Sea Talk” and “Night” stand out for me. “Hikikimori”, in this string driven vehicle, seems more optimistic than its synthetic doom laden version on Conatus (2011). The staccato strings on “Sea Talk” makes the rhythm a much more playful thing that the reverb doused version of Valusia (2010). “Night” always seemed to me as the first “hit” song of Zola Jesus as the lead track on 2010’s Stridulum EP. It’s a song screaming for a string rendition. As its screams are met with Versions there is a greater power unleashed by the song’s hypnotic pounding siren call. Lastly, “Fall Back” is the one new song on this album. It’s a trilling, pizzicato, pulsation building to a percussive explosion of intimate grandeur.
The renditions of “Hikikimori”, “Sea Talk” and “Night” stand out for me. “Hikikimori”, in this string driven vehicle, seems more optimistic than its synthetic doom laden version on Conatus (2011). The staccato strings on “Sea Talk” makes the rhythm a much more playful thing that the reverb doused version of Valusia (2010). “Night” always seemed to me as the first “hit” song of Zola Jesus as the lead track on 2010’s Stridulum EP. It’s a song screaming for a string rendition. As its screams are met with Versions there is a greater power unleashed by the song’s hypnotic pounding siren call. Lastly, “Fall Back” is the one new song on this album. It’s a trilling, pizzicato, pulsation building to a percussive explosion of intimate grandeur.
With Versions the cadaverous songs have been reanimated with a passion. It’s simple to see that Danilova has always wanted to work within the realm of a quartet and that excitement cuts through like a rainbow on a cloudy day. I’d say if you’re looking for rain turn on the earlier versions but if you’d like a little optimism in your darkness, turn on Versions.
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