Earlier this year Zola Jesus (a/k/a) Nika Roza Danilova caused what could be considered a stir among music obsessives with the release of her "Stridulum" ep. The record was a sharp break from her previous lo-fi 4AD proto-goth. "Stridulum" maintained Zola's dark roots, but was a far more polished affair, so polished that fans of her work had to radically adjust their expectations in order to digest what was, in the end, a pretty solid release. At the same time, some wondered if this was really indicative of a change in direction for Danilova, or if it was a one-off experiment. While I understand the desire by some to hold out hope that she return to the hazy atmospherics of her superb "The Spoils" LP, typically when an artist goes from grime to shine, they don't go back. Unfortunately, "Valusia" drives a stake right through the heart of any hope for a "Spoils II" (as does the fact that her new LP is slated under the title "Stridulum II" rather than "The Spoils"). Not only has Danilova dyed her hair from black to blond, but she's left Madison, WI for the city lights of LA and turned up the brightness on her sound even further. Thankfully she still has that amazingly soulful voice to see us through these drastic changes."Valusia" starts off with "Poor Animal," a song that virtually qualifies as a pop single when compared to Danilova's past work. It still bears the imprint of 80s post-punk and proto-goth, but it tilts further toward bouncy dancy new wave. Yet just when the track threatens to relegate itself to a fate less than stellar, a bit of that Zola Jesus of old returns injecting some much needed dynamism into the proceedings with a dramatic bridge of strings, a single steady beat and her incredible voice. Once over she maintains the intensity to finish the song out on a high note. It maybe a far cry from her past, but if you can get over that "Poor Animal" will grow on you, and you'll find yourself humming it from time to time like any good pop song.
The ep's darkest moment comes with "Tower," a synth-based blues dirge that recalls the menace and horror of Danilova's earlier work. Having said that, it is still a much more polished version that you can't help wishing was a little more charred around the edges. Still Zola Jesus does darkness well, and "Tower" is a welcome blackened pit in between bright and shining lights. "Sea Talk" follows and sounds a bit like a more upbeat version of Joy Division's "Atmosphere." It's not a bad song, but it is also the ep's least memorable track.
"Valusia" comes to a close with the stripped down "Lightsick." The track feature's Danilova's voice over staccato piano and effects. It's an incredibly pretty song, not beautiful, but pretty that features Zola Jesus' greatest asset - Danilova's voice - front and center. In the end, like "Stridulum," "Valusia" is a solid, if not spectacular work, and one that will require an adjustment of expectations for fans who have been with Zola Jesus since the beginning. Although, I think it's fair at this point to simply give in and acknowledge that this is indeed who Zola Jesus is now. She may be less mysterious, but she is nevertheless an engaging and unnaturally talented artist with a voice to die for. I wouldn't be surprised if her forthcoming full-length lays all present doubt about her change in direction to rest.
"Sea Talk"
Zola Jesus - Sea Talk (Official Video) from Souterrain Transmissions on Vimeo.
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