We’ve all had that feeling that we’ve taken on so much, whether voluntarily or against our will, that we can’t take another step based on that weight. That also is balanced against just surviving, realizing we are at the mercy of power structures that do not always (or ever?) have our needs in mind and choose to steamroll whatever stands in their way.

Anna Von Hausswolff, on her sixth record “ICONOCLASTS,” sees the struggle of taking on too many burdens as well as the drive to salvage our lives and power as we see the world crumbling before us. She took the example of Atlas, with the world on his shoulders, and drove into these 12 songs and 72 minutes with the intent of examining fears, love, loss, contradictions, and finding our true meaning within. Armed with a slew of musicians as well as guests artists, Von Hausswolff crafts a massive display of her untouchable talents and artistic force, her call like none other. The songs weave into one another and create a greater whole that, yes, is demanding of your time, but it also rewards greatly. This is a stunning collection that feels like the culmination of her work to date.

“The Beast” starts as an orchestral piece, sweltering and gathering momentum, drone building and finally relenting, exiting in a breeze. “Facing Atlas” has sax swirls and organs, Von Hausswolff’s singing unfurling as the emotion spills alongside her. Drums pulse as things burst as Von Hausswolff calls, “Can’t we just run away?” as the playing jangles and crashes out. “The Iconoclast” is an 11:15-long behemoth, guitars buzzing and the singing filling your head, horns bringing heat as the sentiment soars. The aura is atmospheric as the vocals pierce harder, and a haze of strings warm over as things crumble, and the sax floats. Angelic singing ices wounds as Von Hausswolff prods, “Can I protect you?” a sentiment that repeats until the notes land in a pillow. “The Whole Woman” features Iggy Pop, sounding more weathered but as charismatic and vulnerable as ever. The song emerges from a dream, two distant lovers pining yet smarting over the wounds. When they sing together, they are two separate spirits searching for one another in the fog, hoping this union finally sticks. This is a gem of a song. “The Mouth” has organs heating, the singing sweltering, and drama thickening, the strings glazing and pouring on the emotion. The body of the song is lush and huge, pulsing as the sax twists, and sounds squeeze as the spirit moves further into the night, right to left on your speakers, fading into psyche static. “Stardust” has drums rousing and the playing reverberating, feeling kind of devious as the synth gathers, pushing your heart to endure a little more. Von Hausswolff’s vocals scorch as warm sax brings a thick lather, guitars lap, and the repeated cries of, “I am sorry,” fade into hushed exhaust.

“Aging Young Women” features Ethel Cain on vocals alongside Von Hausswolff, and their voices are strikingly similar but boast different characters. Sax eases in as the call of, “See me off and set me free,” wafts, organs dueling with the atmosphere. Together they call, “We’re getting older by the hour, and every day we have more fear,” as their artistic union merges with their hearts. “Consensual Neglect” has all elements gathering overheard before bursting generously, horns enveloping, the feeling of a cold, autumn morning soaking into your bones. The pressure builds and challenges your lungs before the instrumental piece fades. “Struggle With the Beast” packs guitar-like sax riffs that feel steely and formidable, melodic changes, and daring new directions, with Von Hausswolff’s voice not even heard until about the 3:40 mark. The bass slinks and the brassy leads continue flexing, the singing snapping as the temperatures jolt. Strings glisten as a huge rush of blood overwhelms, rousing as the final moments scrape away. “An Ocean of Time” features Abul Mogard, who adds a huge element of surreal energy to this song that is a long dreamscape. Ghostly calls simmer as echoes permeate the increasing shadows, sweeping into spacey drone. The playing hovers and orbits, strange noise bleeding out of every crevice before powering down. “Unconditional Love” also features Anna’s sister Maria, a cinematographer and filmmaker who has appeared on her sibling’s albums before. The playing flutters as horns spread, and the singing awakens, organs lending a glaze. The essence feels fantastical in spots, the call of, “Until you’re mine!” feeling like a declaration, the emotion cresting and fading. “Rising Legends” closes the album instrumentally, sounds swelling and orchestral waves overcoming, rising before landing gently on the shore.

It feels like Von Hausswolff has been building to “ICONOCLASTS” her entire career as she pours every part of herself into this dynamic record that feels like her ultimate achievement. Yes, it is pretty long as compared to a standard album, but you’ll get lost easily in the heavily visual music and Von Hausswolff’s ethereal, world-toppling voice. This is a perfect record for crawling out of the cold and storing yourself away somewhere dark where you can absorb this album from front to back in peace.

For more on the band, go here: https://www.youtube.com/@AnnavonHausswolff

To buy the album, go here: https://yr1.se/iconoclasts

For more on the label, go here: https://year0001.com/