Zola Jesus: Conatus - Album Review

Zola Jesus
Conatus
Rating: Yeah Daddy Make Me Want It

Russian-American singer Nika Roza Danilova (a.k.a. Zola Jesus) paints with a very limited palate, primarily shades of black and grey. Through two EPs and now this full length, Danilova pairs her operatic/goth vocal stylings with pummelling drum machines and swirling synthesizers, now adding touches of strings and other instrumentation. If this were the 80s, Danilova would fit effortlessly in the 4AD label roster alongside Dead Can Dance, while drawing subtly from other acts like Siouxsie, The Cure, Depeche Mode, and Kate Bush. Conatus is Latin for the philosophical belief that there is an innate inclination of a thing to continue to exist and enhance itself. With Conatus, the album, Danilova has attempted to stretch her sound, stating ""I had it in mind beforehand because I knew that's what I was going through even before I sat down to work on the record, I was already going through that emotional process of trying to push myself." While Conatus is not exactly a re-invention of the Zola Jesus sound, the subtle changes that are made are quite noticeable, as Danilova makes more use of acoustic instrumentation instead of relying solely on electronics.

Tracks like the two closing tracks, "Skin" and "Collapse," use stark piano and ghostly strings, respectively, to add color and dimension to the monochrome palate. The warmth of the music adds a human touch to Danilova's voice, which can be almost overwhelming in its strength and power.





Conatus is a monster of a record, sounding big and taking lots of risks in being so overt; to the point it can be a little too dramatic. After a brief instrumental intro, Danilova kicks right into the forceful building of "Avalanche," which is propelled by thumping drum machines, choirs of synthesizers, and her booming alto.



Likewise, first single "Vessel" is similarly melodramatic and haunting. Stark piano chords pound in between shards of synth drones, drawing comparisons with Fever Ray's icy sounds.



There is a melancholy, dark undertow to Conatus, with little room for humor or even a ray of light. Occasionally, there are small cracks in the dark exterior. From the string swells in the dramatic "Hiikikomori,"



rolling piano trills in the gothic blues of "Lick the Palm of the Burning Handshake,"



or the squiggly electronics burbling under the surface of "Shivers."



Conatus is fairly consistent across the board; I don't think there is even one song on the album I don't enjoy. However, that consistency comes across more as blandness than really strong songwriting. There are no standout singles on the album, or something to really grab your attention. When you listen to the album as a whole, the songs play well together as a cycle; divorce them from each other, and they are just pleasantly dramatic. This is not going to be her breakout album, unfortunately, but it is a good base form which to take her sound to another level. Zola Jesus has been one to watch in 2011, and it looks like it will be a little longer until we get something amazing from her.

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.