Anna von Hausswolff's latest release, Iconoclasts, marks a pivotal shift in her discography as the Swede seems to pivot towards pop. Over the past decade, Von Hauswolff has established herself as an icon of solemn, echo-laden soundscapes replete with drone from her beloved pipe organ and firmly rooted in gothic traditions.
This latest album sees Von Hausswolff embracing a more melodic approach than her previous work, drawing comparisons to the likes of Lana Del Rey, but don't let those superficial parallels fool you. The result is an exhilarating and euphoric take on songcraft that defies easy categorization.
One of the standout tracks on Iconoclasts is Aging Young Women, a haunting ballad featuring Ethel Cain – a duet that could easily find its way onto mainstream radio playlists. But this is not pop in the classical sense; rather it's Von Hausswolff's bold and fearless take on the genre, with an eclectic mix of sounds that evoke everything from jazz to reggae.
Throughout Iconoclasts, saxophonist Otis Sandsjö adds a unique dimension to Von Hausswolff's sonic palette. His contributions range from subtle warmth to full-blown noise-making frenzy, adding depth and texture to tracks like Struggle with the Beast and The Mouth.
Despite its breadth of sound, Iconoclasts is an album that refuses to let up on itself – it hurtles forward with a kinetic energy that propels you from one sonic peak to the next. Tracks frequently morph and twist in unexpected ways, defying traditional song structures and instead opting for something more free-form.
For all its maximalism, however, Iconoclasts feels curiously personal – Von Hausswolff ponders themes of existential dread, depression, and the search for meaning against a backdrop of increasingly turbulent life. Her voice still crackles with intensity, but it's also infused with a sense of weary resolve.
In short, this is music that refuses to be pinned down or reduced to simple labels – it's an immersive experience that feels both cathartic and exhilarating at its peak. Iconoclasts may not be the most accessible album by any stretch of the imagination, but it's undeniably a masterclass in fearless experimentation and songcraft.
This latest album sees Von Hausswolff embracing a more melodic approach than her previous work, drawing comparisons to the likes of Lana Del Rey, but don't let those superficial parallels fool you. The result is an exhilarating and euphoric take on songcraft that defies easy categorization.
One of the standout tracks on Iconoclasts is Aging Young Women, a haunting ballad featuring Ethel Cain – a duet that could easily find its way onto mainstream radio playlists. But this is not pop in the classical sense; rather it's Von Hausswolff's bold and fearless take on the genre, with an eclectic mix of sounds that evoke everything from jazz to reggae.
Throughout Iconoclasts, saxophonist Otis Sandsjö adds a unique dimension to Von Hausswolff's sonic palette. His contributions range from subtle warmth to full-blown noise-making frenzy, adding depth and texture to tracks like Struggle with the Beast and The Mouth.
Despite its breadth of sound, Iconoclasts is an album that refuses to let up on itself – it hurtles forward with a kinetic energy that propels you from one sonic peak to the next. Tracks frequently morph and twist in unexpected ways, defying traditional song structures and instead opting for something more free-form.
For all its maximalism, however, Iconoclasts feels curiously personal – Von Hausswolff ponders themes of existential dread, depression, and the search for meaning against a backdrop of increasingly turbulent life. Her voice still crackles with intensity, but it's also infused with a sense of weary resolve.
In short, this is music that refuses to be pinned down or reduced to simple labels – it's an immersive experience that feels both cathartic and exhilarating at its peak. Iconoclasts may not be the most accessible album by any stretch of the imagination, but it's undeniably a masterclass in fearless experimentation and songcraft.
Anna von Hausswolff is like a chameleon with this new album - she can totally rock that pop vibe 
yet still keep her signature dark vibes 
. I'm loving the saxophone riffs from Otis Sandsjö, it's giving me all the jazz feels 
. The way she weaves together different sounds is like a sonic rollercoaster 
- you'll be on one wave and then BAM, she throws in a reggae beat 
. Aging Young Women with Ethel Cain is hauntingly beautiful 
. This album is not for the faint of heart, but if you're down for an emotional ride, Iconoclasts is like no other 
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... I mean, don't get me wrong, it's definitely an experimental album and all that jazz, but is it really pushing the boundaries of music or just more of the same old noise? 
And what's up with the whole Lana Del Rey comparison thing? It feels like a superficial nod to mainstream pop rather than actual influence. 
I'd love to hear her tackle some more challenging themes, you know, like the impact of technology on society or something. 
That would be a real game-changer for me...
she's totally breaking free from her gothic vibes and embracing this super melodic pop sound that's giving me LIFE 
it's like a whole new side of her is emerging and i am HERE. for. it 
and Otis Sandsjö's saxophone work adds such depth to the album... anyway, just gotta get my hands on this record ASAP 
. It's like she's finally found her own voice and isn't afraid to try new things 
. Don't get me wrong, I still enjoy that solemn, echo-laden soundscapes stuff, but this pop-infused Iconoclasts is something else entirely 
Plus, it's refreshing to hear artists pushing boundaries like this instead of playing it safe 
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. I'm not gonna lie, some of the tracks might be a bit too much to handle at first, but once you get into it, it's like bein' swept away by a musical tidal wave 
. Anna von Hausswolff is all about that cathartic, existential vibe on this one, and I'm here for it 
. It's not gonna be everyone's cup of tea, I know, but if you're lookin' to challenge yourself as an artist or just wanna experience somethin' new, Iconoclasts is the way to go 
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and at the same time, it's really personal and emotional. i think that's what makes aging young women so hauntingly beautiful 
and i love how the album doesn't follow traditional song structures - it's like she's proving that math homework isn't just for numbers 
, now she's making music that could potentially get played on the radio at a school disco 
. I mean, don't get me wrong, it's still super good, but it's not like she's breaking any new ground here... just kinda... existing in a slightly more melodic realm 
- her new album is like a dark, beautiful fever dream 
. I'm all for bold experimentation, but this lady's got skills 
. Don't let the pop vibes fool you, it's still super intense 
