| Genre | Unknown |
|---|---|
| Date (CEST) | 2016-11-23 19:09:33 |
| Group | ERP |
| Size | 57 MB |
| Files | 10 |
| M3U / SFV / NFO | |
Jenny_Hval-Blood_Bitch-2016-ERP
Infos
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Tracklist (M3U)
| # | Filename | Artist | Songname | Bitrate | BPM |
|---|---|---|---|---|---|
| 1 | 01-jenny_hval-ritual_awakening-erp.mp3 | Jenny Hval | Ritual Awakening | Unknown | Unknown |
| 2 | 02-jenny_hval-female_vampire-erp.mp3 | Jenny Hval | Female Vampire | Unknown | Unknown |
| 3 | 03-jenny_hval-in_the_red-erp.mp3 | Jenny Hval | In The Red | Unknown | Unknown |
| 4 | 04-jenny_hval-conceptual_romance-erp.mp3 | Jenny Hval | Conceptual Romance | Unknown | Unknown |
| 5 | 05-jenny_hval-untamed_region-erp.mp3 | Jenny Hval | Untamed Region | Unknown | Unknown |
| 6 | 06-jenny_hval-the_great_undressing-erp.mp3 | Jenny Hval | The Great Undressing | Unknown | Unknown |
| 7 | 07-jenny_hval-period_piece-erp.mp3 | Jenny Hval | Period Piece | Unknown | Unknown |
| 8 | 08-jenny_hval-the_plague-erp.mp3 | Jenny Hval | The Plague | Unknown | Unknown |
| 9 | 09-jenny_hval-secret_touch-erp.mp3 | Jenny Hval | Secret Touch | Unknown | Unknown |
| 10 | 10-jenny_hval-lorna-erp.mp3 | Jenny Hval | Lorna | Unknown | Unknown |
NFO
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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Jenny Hval
Title | Blood Bitch
Genre | Indie Format | Album
Source | CDDA Time | 36:26
Label | Sacred Bones Records Store | 2016
Catalog | SBR161CD Rip | 2016
Bitrate | 213 kbps Size | 59.54 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Ritual Awakening 1:42
02. Female Vampire 3:37
03. In The Red 2:21
04. Conceptual Romance 4:32
05. Untamed Region 4:51
06. The Great Undressing 4:00
07. Period Piece 2:41
08. The Plague 5:57
09. Secret Touch 4:39
10. Lorna 2:06
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
Norwegian musician and writer Jenny Hval honed an intellectual yet
uncompromising viewpoint on politics and sexuality in her prose and in her
albums, which included two as Rockettothesky and several under her own
name. Growing up in Oslo, Hval was inspired by Kate Bush, Jimmy Somerville,
and the ambitious, androgynous feel of 80s pop, and began playing keyboard.
During her teens, she also played in the goth pop band Shellyz Raven; after
moving to Australia to study creative writing at the University of
Melbourne, she played with the groups iPanic and Folding for Air, and also
recorded her own material on a three-track recorder.
Leave it to Hval to make an album that taps into the full symbolic power of
blood: Her voice and music have a piercing, penetrating quality that
suggests a knife, or in this case, fangs. Her fourth album under her own
name, "Blood Bitch" - a title that calls to mind a red-soaked Carrie - uses
vampire and menstrual imagery to express different kinds of hunger and
purging in scary, sexy, raw, and sophisticated ways. "The Great Undressing"
is all of these at once, a confession of creative and emotional need that
compares capitalism to unrequited love in a stream-of-consciousness gush.
Though Hval is no stranger to visceral moments like this, she offers them
with less distance than ever before on "Blood Bitch".
"Period Piece" makes this point more literally, when a gynecologist's
speculum leaves her feeling connected instead of separated. Similarly, Hval
presents the dense layers within her art with a lighter touch - an equal
and opposite reaction to the sometimes overwhelming "Apocalypse, Girl". For
the first time since her work as Rockettothesky, Hval's music is almost
poppy. It's a move that feels even more subversive considering she
co-produced "Blood Bitch" with noise artist Lasse Marhaug. Indeed, the
album's pretty synth-pop surfaces only make it more complex: Named after a
1973 horror movie, "Female Vampire" is ominously alluring as it introduces
the gender-fluid vampire that haunts "Blood Bitch", trapped in an eternal
night fleshed out by distant saxophones and panting breath.
And if these songs are more structured than Hval's previous work, they're
also more vulnerable; her fragile singing on the rapturous "Secret Touch"
and the cerebral yet tender "Conceptual Romance" expands on the
transporting beauty hinted at on "Innocence Is Kinky". Hval's music often
borders on performance art, and "Blood Bitch" is no exception. The album
could pass for a soundtrack or a radio play, and the evocative sound design
taps into the subconscious on "In The Red", where heavy breathing blurs the
line between lust and dread. The 60s and 70s cult horror homages are
inspired; "Ritual Awakening" could be the title of an old movie.
Untamed Region" juxtaposes flutey synths that evoke the dreamlike feel of
Valerie and Her Week of Wonders with Adam Curtis' thoughts on nonlinear
warfare to evoke horrors both fantastic and all too real. On the climax
"The Plague", Hval and Marhaug blend the naked terror of vintage horror -
haunted house screams and sobs, a church organ that sounds sacred and
sacrilegious - with postmodern humor as Hval stops the song dead to mention
'last night I took my birth control with rose'. It's just another example
of how sounds and concepts flow into each other as potently as blood itself
on "Blood Bitch", a bewitching album from an artist at the peak of her
powers.
┌────────┐
────┤ Group ├─────────────────────────────────────────────────────────────────
└────────┘