One thing that is made abundantly clear through these eleven tracks is how large a landscape Zola Jesus occupies. The music and tone of the album are industrial and vast. At times, they serve to paint landscapes, using broad strokes to create a scene. The songs are busy, filled to the brim with instrumentation, but most of it seems like bells and whistles (literally in some cases). That's not necessarily a bad thing. The tracks are layered so thickly that it creates a sense of losing one's bearings while listening, and the audience might have a hard time knowing which way is up through the multitudes of synths, electronic drums, and Nika Roza Danilova's gothic delivery. Then again, maybe that's the whole point.
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