I’m sure a lot of listeners will hear the title track and think of Einstein on the Beach, but this album is beautifully realized. Now obviously Hausswolff isn’t the first to use the Organ in this type of way. Then, the whole mood of the piece changes entirely as these bright major chords twinkle in the moonlight at the climax. Take the very next track, “Sacro Bosco.” Here, a prodding bass motion first sounds a bit sinister as it’s highlighted by sparse high notes and this odd looped white noise thing(?) (I really have no idea how she did that but it sounds awesome).
The album is not very direct with its melodic material, it takes a lot of time to create an environment where different splashes of color can come together to create new moods and environments. It opens with a simple and subtle chord progression that gradually builds until crying high notes come in and hit you right in the gut. My favorite track on here has to be the second one “Dolore Di Orsini,” it's the clear show stopper and the one that best describes what the album tries to do. Her album covers are ripe for “mentally I’m here” type commentary so my thought process was “that looks cool” and then “ugh Organ music” and eventually, “eh whatever I’ll give it a spin.” Her last album Dead Magic is ambitious and huge 12 and 15 minute songs drone on as Hausswolff belts into space and the one before that, The Miraculous, borders on being a rock album.įor me, however, Hausswolff showed up because I just so happened to check out Forced Exposure around the week when her new album All Thoughts Fly was released. Hausswolff is a Julia Holter-type classical pop-musician. I imagine fans of Anna Von Hausswolff would have a very different relationship to this album than me. This album will reward on first listen and for many more and I’m excited to keep Chuck Moore on my radar.Īnna Von Hausswolff’s Ambient Organ Music
Moore’s lyrics on “A Lesson” dive into the psyche of the song’s characters like a Sally Rooney novel or something and “The Driveway” matches wrenching guitar with cutting lines for the album’s longest and grittiest track. The album is a little bit top heavy as the second half is dedicated more to the slow-burning ballads, but there’s plenty to like about it. They build anticipation and play with your expectations, never seeking to repeat the same tricks.
This music isn’t afraid to go for the gut punch, but it is a bit subtle. “Los Manos” explodes in the end with a clever twist of words: “did my honesty scare you?/honestly, I scare me too.” “Wrestling” follows with a bit of a power-pop flair and the yelling comes in during “Car Window,” capturing the feeling of that summer drive with the wind in your hair. They don’t give us the satisfaction of the no holds, big-rock ending, though, that comes in bits and pieces later on the next three songs. After the intro track, the album really kicks in at the bridge of the second song, “Noonday Devil.” The chorus is already nice and strident, but then Moore takes the melody up a little higher, the guitars get a little strummier and the whole song feels a little punchier. I have to say my favorite parts of the album are when Moore swings for the fences with all-caps hooks and melodies, which mostly happens on the A-side.