Channeling the spirit of 70's gore 'n' guts horror through a cryptic frostbite circumference, Jenny Hval follows up the explosive Apocalypse, girl with her new album Blood Bitch for Sacred Bones.
Composed as an investigation of Blood, Jenny Hval uses her latest album platform to spin exceptionally composed pop music with a thick, dark red spirit seeping through its veins. Described as containing fictious stories '"fed by characters and images from horror and exploitation films of the 70s". This is reflected in the tale of a vampire named Orlando who is traveling through space and time, and a story more close to the bone of a 35-year old artist stuck in the endless loop of touring, from the initial excitement to long periods of travel and the loneliness and jet lag that can haunt such an existence.
Moving between her early work involved with the metal scene of her native Norway, she channels a distinct slant of drone-based goth-horror akin to the long, colder nights of Martin Hannett in a 70's Strawberry Studios and the L.A. desertshore punk of Tropic Of Cancer. All of this stabbed with a needle full of sparkling Arp Odyssey synthesized texture that aligns it in the same realms as Gudrun Gut's early work with Einstürzende Neubauten.
Blood Bitch is the most realised vision yet from this most singular artist, an album drenched in dreamlike atmospherics where the cross pollination and confusion spun from hours of sleep deprivation delve into the confused dialogue. This is perfectly summed up in The Plague with the line 'while you were sleeping, I was dreaming that you were sleeping' which for us is possibly the most accurate way to describe the experience of delving into Jenny Hval's world for an hour or so. Winter is calling...