Anna von Hausswolff Pushes Herself Towards Popular Songwriting on ‘Iconoclasts’
Anna von Hausswolff. (Credit: Philip Svensson)
It seemed inevitable that Anna von Hausswolff would make an album inspired by This Mortal Coil, the 4AD collective that covered songs by Gene Clark, Alex Chilton, and more, injecting them with its gothic touch. Iconoclasts, the sixth album by the Swedish musician out October 31, may feel more like conventional music to those accustomed to von Hausswolff’s solo droning pipe organ compositions. However, Iconoclasts is easily her most exhilarating and emotionally wrenching album yet.
Von Hausswolff is no stranger to controversy. When a blogger once called her the “high priestess” of “satanic harmonies,” Catholic protesters prevented her from performing at churches in Paris and Nantes. But fans may be the ones who are surprised this time, as Iconoclasts defies expectations for an Anna von Hausswolff record.
Take “Aging Young Women,” which features Ethel Cain. If Iconoclasts is truly von Hausswolff’s This Mortal Coil record, then “Aging Young Women” is her “Song to the Siren” in its melancholy yet earwormy, beauty. Meanwhile, Iggy Pop turns up to duet on the devastating “The Whole Woman,” his appearance adding a deep level of cred to the musician who is nowhere near a household name.
At 12 tracks and nearly 75 minutes, Iconoclasts is a challenging but deeply rewarding listen. Instrumental opening track “The Beast” features saxophonist Otis Sandsjö who tears in, here and on many other songs, like John Zorn possessed. Meanwhile, “The Iconoclast” is the record’s centerpiece, an 11-minute cri du cœur that alternates between shimmering instrumentals featuring Sandsjö’s saxophone and von Hausswolff’s impassioned vocals. “Can I be your dream?” she asks. “Can I change your life?”
Yes, Iconoclasts does feel like a life-changing album in its richness and beauty. Von Hausswolff has not made a conventional record by any means, as the songs surprise with their intensity and shifting directions. This feels like music that the artist has dumped everything into, an emotional journey that isn’t always easy. Those familiar with von Hausswolff’s organ drones will recognize a similar quality of disorientation and maximalism in these 12 songs.
From the propulsive drumming on “Stardust” to Sandsjö’s burbling sax on “Facing Atlas,” Iconoclasts is a record about discovery. Not just musical rabbit holes, but the emotional tunnels von Hausswolff is willing to explore. Like the best Dead Can Dance tracks, the songs on Iconoclasts burrow deep into the soul, remain constantly surprising, and inspire repeat listens. This is what the best music does, and Iconoclasts places Anna von Hausswolff in the conversation for the year’s greatest record.
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