302:
as he's a great friend of mine that also lives in Los
Angeles and he has a great studio with lots of resources. He helped oversee the production of the record and made sure that everything was done on time and nothing was missed out during recording and it worked out just perfect", she said. It was easy for her to work with Foote who, understanding that she was a "control freak", tried to "step away a lot". Yet, he had a lot of "great suggestions about how to change little things to make them more effective", according to Danilova, and also let her use his "amazing synth collection" which helped the songs grow.
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391:: "There is the singular, artistic persona that represents an entire project of identity. The moody drama that stems from this persona infused into each song. The challenge to popular music orthodoxy from within the system. And above all, the placement of a powerful operatic voice at the focal point, and in Nika Roza Danilova's case, the classical training that goes along with it."
465:
awaiting the next otherworldly journey." "Though some may miss the rough and raw approach of her last two EPs, it's refreshing and exciting to hear music that relies on bone-hard essence rather than gauzy trimmings to create an aura of mystery. There's a newfound sense of purpose, as if, having tested her abilities, Danilova now understands exactly what she's doing", according to
321:). "I can't play violin or cello or stand-up bass, or drums. I can play keyboards, kind of. So all the keyboard parts I wrote and played, and then I would send the string parts that I had wrote on the keyboard to the string players and they would just mimic that. Same with the drums. I try to do as much as possible, still, but I wish I could play drums", she explained.
29:
552:
because of the authority of
Danilova's voice, and partly because the music gives nothing away, thrumming along with power that shades into ambivalence toward the shifting emotional register of the singing. The results are dramatic but never melodramatic, as Danilova maps the dimensions of her self-imprisonment with resolve."
974:
felt that the album is "trademark Zola Jesus" which hasn't "taken any great strides away from the formula that's served its master so well to date" and, while the production has certainly taken a step up, the lyrical content of songs prove to be less memorable than the delivery. Long concluded: "This
546:
Heather Phares opined that "Danilova's throatily majestic voice" is "as unmistakable as ever. Her instrument is undeniably powerful, and more controlled here than it was before", but still demonstrates "remarkable rawness and vulnerability". Sam
Shepherd wrote that "er voice is so unique and haunting
542:
have been unanimously praised by critics. Frank Mojica of
Consequence of Sound argued that "ome singers are blessed with the rare sort of voice that's unmistakably theirs, and Nika Roza Danilova is one such artist. Under her stage name Zola Jesus, the opera-trained Danilova has paired vocals that are
301:
Brian Foote, Danilova's friend, has been bought in when she realized she had too much of ideas to sort them out. "Some of them weren't really a good fit, as I found out during the process, and by the end I kind of realised that I needed someone to help me along the way. So, it made sense to ask Brian
276:
Several critics noticed that the new album sounds different from Zola Jesus' earlier works. "I just wanted to try out new ways to produce and different ways to write. And with this new record it's a lot more stripped down and there are way more acoustic elements as opposed to no acoustic elements. I
937:
s Brian Howe viewed the album as a huge step forward as well, noting that "ost traces of obscuring murk have burned away, so that every pock and ridge in the rugged, elemental music stands out distinctly. Her bouts of nihilism feel nervier and more bracing in the unforgiving light of sonic clarity.
551:
commented, "Whatever biosphere you choose to project on it , Danilova's voice remains fixed on a faraway horizon, receding as you approach. When she bursts into the foreground on 'Avalanche' and stays there for the remainder of the album, the impression of impassable distance lingers. This is partly
944:
reviewer Laura
Studarus referred to the album as a "textured collection of 11 tunes—all united with an innate sense of 'epicness.' Danilova's more-is-more mentality may be off-putting to some listeners (instrumental embellishments circle her swooping voice like auditory eyeliner), but it's executed
464:
comes across as a more fully realized Zola Jesus production. This album is elevating as well as moody, as it runs through various shades of both electronic and organic darkness. Although familiar by now, the Zola Jesus style has been refined enough so that it remains fresh and leaves the listener
329:
Some critics mentioned
Danilova's initial intention "to make a big sounding pop album", and the way she's "found that the music she was creating was expressing itself as something more introspective", as the work progressed. "Despite stepping away from the notion of making a pop album, 'In Your
296:
It was the longest I've had to record an album, which was three to five months. Which, to me, was way too much time and at the same time not enough. But I added acoustic elements, like live drums and strings which was very new to me. Plus I worked with a producer for the first time, mixing the
277:
just wanted more breathing room, so people could insert their own experiences into the song, their own feelings into the song, as opposed to me forcing it on them with the densest sound possible", Danilova explained. Speaking to Prefix
Magazine after her performance at the
979:
thought that "he lyrical content is largely superfluous, and despite the obvious upgrade in production and a newfound embrace of the spotlight, the program is very much the same." Praising "Vessel" and "Seekir" as the album's two most innovative tracks, Emily Mackay of
297:
record and producing it, which I had never done before. And just the way I wrote it was much different, because with everything I wrote, if it sounded too much like something I'd written before like something I'm used to writing, I'd throw away the song and start over.
395:
reviewer Anupa Mistry agreed, stating: "Like her prior work, the songs are thematically dark and diffuse, but the dancey impulses on 'Vessel' and 'Seekir' signal headier paths ahead. Could Zola Jesus be the inverse Lady Gaga?" Reef Younis, writing for
289:) appeared before the work on it began. "I had it in mind beforehand because I knew that's what I was going through even before I sat down to work on the record, I was already going through that emotional process of trying to push myself", she said.
409:'s Heather Phares saw a lot of complexity on the album that "extends even to relatively accessible moments, which inch closer to pop without actually delivering it". She also wrote that over the course of the album, Danilova "nods to
432:
mentioned how prior to the album's release Zola Jesus "revealed that she'd immersed herself so deeply in its (typically cheery) themes of alienation and isolation that she became 'completely lost'", adding that "while the misery of
346:
cited "Seekir" and "In Your Nature" as "prime examples of how she has quickly and impressively matured from bedroom industrial experimentalist to perverse yet universal synth-popper", while Anupa Mistry of
Canadian magazine
281:, she said she wanted the album to be a step forward. "n doing that, there was so, so much trial and error and so much quitting music at the end of the day", she admitted. Danilova said that the title of the album (meaning "
900:
wrote, "More bare structurally, musically and emotionally than its predecessor, yet by the same token, fuller and more alive, is an amazing work that showcases a phenomenal talent and a unique voice." Mikael Wood of the
370:
also found "below the bleak, seasick surfaces" a "deeply romantic streak that complicates the idea of who or what Zola Jesus is", noting that "t's this disarming sensuality that allowed
Danilova to fit in alongside
425:
without pledging allegiance to any one style; she's forging her own path", presenting "fractured beats and electronics alongside strings and other organic elements in a pristine studio setting." Ben Hewitt of
975:
is a strong record, there's no doubting that—but it still feels like the best is yet to come from
Danilova, which some may consider a disappointment now that she's three albums to the good." Evan Hanlon of
960:, it's still some of her most satisfying work. This is music made in and for the darkest hours, and a striking portrait of the times when crisis and opportunity meet." Matt James of
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For the first time ever Danilova has brought in session musicians: Nick Johnson (drums, who is also a member of her live band), Sean McCann (
970:
is an album rich with highlights. It's melodrama so operatic, everything's built to sound like the last song you'll ever hear." Jen Long of
966:
described the album as "enchanting, exhausting, cathartic, borderline traumatic, and curiously beautiful to its dying breath", adding that "
334:
might have headed had Danilova's tendency to write songs that inhabit the darker end of the spectrum not come to the fore", according to
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Answering the question about how and why the new album was different from her previous records, Danilova said:
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akin to a siren's call with neo-gothic synths that carry the listener to an often sinister land of mystery."
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s Frank Mojica, "Rather than radically reinventing the sound from Danilova's second full-length, 2010's
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magazine praised it as "a mind-blowing and powerfully emotional album", rating it 4/5. Sam Shepherd of
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opined that "Seekir" "is the closest Zola Jesus gets to a club hit" and even draws parallels with
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260:, released in the United Kingdom on September 26, 2011, and in the United States on October 4 by
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930:, "she's made another bold step toward fully realizing her cyborg-like, post-goth opera."
8:
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1825:
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gives you a more polished version of exactly what you'd want from a Zola Jesus album".
1820:
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911:
a 3.5/4 rating, calling it a "thoroughly bewitching album", while Stephane Girard of
903:
677:
523:
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366:
1953:
527:
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1922:
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913:
510:. In a broader sense, PopMatters' Matt James noticed similarities with the work of
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90:
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score of 79, based on 35 reviews, which indicates "generally favorable reviews".
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is far more ambient and ethereal—and doubly eerie as a result." According to
884:
rating out of 100 to reviews from mainstream critics, the album received an
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2016:
1000:
992:
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639:
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placed the album at number 15 on its list of the "Top 50 albums of 2011".
538:
As with all of her previous releases, Zola Jesus's vocals and delivery in
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318:
72:
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2020:
1991:
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41:
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1007:
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479:
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710:
602:
414:
406:
336:
85:
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402:, remarked that "tepping out of the shadows suits her after all."
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160:
80:
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The closer she gets, the more enigmatic she's revealed to be."
310:
2527:
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1258:
1248:
1003:
found the album "very accomplished, but lacking in variety".
917:
dubbed it "Zola Jesus' most gratifying offering so far", and
314:
306:
36:
372:
2370:
2078:
982:
748:
2435:"Zola Jesus Chart History (Top Dance/Electronic Albums)"
1464:"Zola Jesus: Interview At Pitchfork Music Festival 2011"
1859:"Album: Zola Jesus, Conatus (Souterrain Transmissions)"
876:
received positive reviews from most music critics. At
2320:
268:, Cloudland Canyon) and Nika Roza Danilova herself.
547:that it is instantly recognisable." Brian Howe of
2354:
264:. The album was produced by Brian "Nudge" Foote (
2657:
437:was often delivered with the same subtlety as a
2417:"Zola Jesus Chart History (Independent Albums)"
2399:"Zola Jesus Chart History (Heatseekers Albums)"
383:tribute at the Hollywood Bowl." Evan Hanlon of
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1847:
1845:
1843:
683:
2465:
2270:"Conatus (Bonus Track Version) by Zola Jesus"
2011:
2009:
1980:
1978:
1976:
2298:"Conatus (Australian Version) by Zola Jesus"
1814:
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1808:
1806:
1804:
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1455:
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716:
645:
607:
2329:. Hung Medien. Retrieved October 13, 2011.
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2096:
1840:
1714:
1712:
1710:
1708:
2472:
2458:
2361:"Official Independent Albums Chart Top 50"
2340:"Chart Log UK – Weekly Updates Sales 2011"
2006:
1973:
1615:
1613:
1611:
27:
2041:Nicholson, Rebecca (September 22, 2011).
2040:
1801:
1448:
1429:"Zola Jesus announces new album: Conatus"
2186:
2093:
1705:
1648:
1646:
1644:
1551:
1549:
1547:
1125:"Lick the Palm of the Burning Handshake"
1915:
1883:
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1608:
1556:Girard, Stephane (September 28, 2011).
1487:
926:s Jason Heller agreed, stating that on
2658:
2327:"Lescharts.com – Zola Jesus – Conatus"
2102:
2074:"Album Review: Zola Jesus – 'Conatus'"
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1951:
1947:
1945:
1890:"Zola Jesus, 'Conatus' (Sacred Bones)"
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1555:
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1187:
1154:
1143:
2453:
2133:
2072:Mackay, Emilie (September 20, 2011).
1984:
1853:
1641:
1622:"Album review: Zola Jesus' 'Conatus'"
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1110:
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1088:
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1066:
1055:
1044:
588:
565:
555:
478:reviewers compared Zola Jesus to are
2214:
1878:
1818:
1776:Mojica, Frank (September 29, 2011).
1619:
1522:
1206:
1020:All tracks are written by Zola Jesus
357:, Zola Jesus "reveals herself as an
2242:"Stereogum's Top 50 Albums of 2011"
2187:Studarus, Laura (October 4, 2011).
2062:
1942:
1916:Gourlay, Dom (September 27, 2011).
1909:
1766:
1684:Younis, Reef (September 26, 2011).
685:
16:2011 studio album by Zola Jesus
13:
1887:
1745:Hewitt, Ben (September 27, 2011).
1718:
1577:
1509:
14:
2687:
1952:Heller, Jason (October 4, 2011).
1587:Mistry, Anupa (October 6, 2011).
1254:Davey Riley – additional engineer
1170:Australian and iTunes bonus track
830:
768:
718:
647:
609:
533:
2217:"Review of Zola Jesus – Conatus"
2215:Long, Jen (September 27, 2011).
1653:Hanlon, Evan (October 3, 2011).
1620:Wood, Mikael (October 4, 2011).
1488:Gourlay, Dom (August 11, 2011).
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628:
623:
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608:
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2290:
2262:
2234:
2208:
2180:
2163:"Reviews Conatus by Zola Jesus"
2155:
2127:
2034:
1985:James, Matt (October 5, 2011).
1819:Howe, Brian (October 5, 2011).
1738:
1462:Bosman, Chris (July 19, 2011).
2479:
2134:Dolan, Jon (October 4, 2011).
2108:"Zola Jesus: Conatus – review"
2043:"Zola Jesus: Conatus – review"
1677:
1481:
1420:
1175:
1032:
1:
1427:Young, Alex (June 29, 2011).
1413:
1212:Nika Roza Danilova – vocals,
271:
1778:"Album Review: Zola Jesus –
1406:
1388:
1370:
1352:
1338:
1323:
1308:
1227:Angel Ceballos – photography
1201:
986:concluded: "Mostly, though,
52:September 26, 2011
7:
2676:Sacred Bones Records albums
2377:"Zola Jesus Chart History (
1396:Top Dance/Electronic Albums
233:Released: February 21, 2012
10:
2692:
2443:. Retrieved July 2, 2021.
2425:. Retrieved July 2, 2021.
2407:. Retrieved July 2, 2021.
2389:. Retrieved July 2, 2021.
2367:. Retrieved July 2, 2021.
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63:
48:
35:
26:
21:
1490:"Zola Jesus – Interview"
1230:Brian Foote – producer,
1224:Brandie Carlos – make-up
324:
279:Pitchfork Music Festival
2365:Official Charts Company
945:with the utmost care."
330:Nature' hints at where
2189:"Zola Jesus – Conatus"
2106:(September 25, 2011).
2017:"Conatus – Zola Jesus"
1918:"Zola Jesus – Conatus"
1857:(September 25, 2011).
1747:"Zola Jesus – Conatus"
1721:"Conatus – Zola Jesus"
1686:"Zola Jesus – Conatus"
1655:"Zola Jesus – Conatus"
1589:"Zola Jesus – Conatus"
1558:"Zola Jesus – Conatus"
1525:"Zola Jesus – Conatus"
1284:Chart performance for
299:
2593:Live at Roadburn 2018
1987:"Zola Jesus: Conatus"
1821:"Zola Jesus: Conatus"
1330:UK Independent Albums
952:expressed that "hile
294:
266:Jackie-O Motherfucker
1787:Consequence of Sound
1434:Consequence of Sound
1244:Nick Johnson – drums
561:Professional ratings
474:Among other artists
448:Consequence of Sound
361:with pop ambition."
262:Sacred Bones Records
2278:. 26 September 2011
1288:
1171:
1028:
956:isn't as direct as
562:
256:by American singer
139:Brian "Nudge" Foote
2539:Compilation albums
2308:on January 2, 2015
2250:. December 5, 2011
1930:on October 7, 2011
1665:on October 4, 2011
1378:Independent Albums
1360:Heatseekers Albums
1283:
1169:
1023:
948:Heather Phares of
880:, which assigns a
872:Upon its release,
560:
556:Critical reception
136:Nika Roza Danilova
2671:Zola Jesus albums
2653:
2652:
1888:Hopper, Jessica.
1719:Phares, Heather.
1627:Los Angeles Times
1411:
1410:
1275:
1274:
1198:
1197:
1191:"Days Grow Older"
1165:
1164:
904:Los Angeles Times
870:
869:
678:Los Angeles Times
524:Francesca Woodman
496:Throbbing Gristle
367:Los Angeles Times
313:) and Ryan York (
245:
244:
187:
186:
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2318:
2317:
2315:
2313:
2304:. Archived from
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2013:
2004:
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2001:
1999:
1982:
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1926:. Archived from
1923:Drowned in Sound
1913:
1907:
1906:
1904:
1902:
1885:
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1661:. Archived from
1650:
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1634:
1617:
1606:
1605:
1603:
1601:
1584:
1575:
1574:
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1570:
1563:Resident Advisor
1553:
1542:
1541:
1539:
1537:
1520:
1507:
1506:
1504:
1502:
1495:Contactmusic.com
1485:
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1446:
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1289:
1282:
1207:
1177:
1172:
1168:
1114:"In Your Nature"
1034:
1029:
1022:
998:
936:
925:
914:Resident Advisor
854:
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566:Aggregate scores
563:
559:
500:Elizabeth Fraser
453:
381:Serge Gainsbourg
343:Resident Advisor
234:
231:
230:"In Your Nature"
225:
222:
216:
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156:
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111:
110:
106:
59:
57:
31:
19:
18:
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2240:
2239:
2235:
2225:
2223:
2213:
2209:
2199:
2197:
2185:
2181:
2171:
2169:
2167:AnyDecentMusic?
2161:
2160:
2156:
2146:
2144:
2132:
2128:
2118:
2116:
2101:
2094:
2084:
2082:
2070:
2063:
2053:
2051:
2039:
2035:
2025:
2023:
2015:
2014:
2007:
1997:
1995:
1983:
1974:
1964:
1962:
1950:
1943:
1933:
1931:
1914:
1910:
1900:
1898:
1886:
1879:
1869:
1867:
1864:The Independent
1852:
1841:
1831:
1829:
1817:
1802:
1792:
1790:
1774:
1767:
1757:
1755:
1743:
1739:
1729:
1727:
1717:
1706:
1696:
1694:
1682:
1678:
1668:
1666:
1659:Dusted Magazine
1651:
1642:
1632:
1630:
1618:
1609:
1599:
1597:
1585:
1578:
1568:
1566:
1554:
1545:
1535:
1533:
1523:Shepherd, Sam.
1521:
1510:
1500:
1498:
1486:
1482:
1472:
1470:
1468:Prefix Magazine
1460:
1449:
1439:
1437:
1425:
1421:
1416:
1302:French Albums (
1296:
1281:
1276:
1204:
1199:
1166:
1017:
996:
977:Dusted Magazine
934:
923:
850:
845:
840:
835:
788:
783:
778:
773:
738:
733:
728:
723:
700:
695:
690:
667:
662:
657:
652:
629:
624:
619:
614:
558:
536:
512:Edgar Allan Poe
451:
421:, and abstract
385:Dusted Magazine
353:opined that on
327:
274:
237:
232:
229:
228:
223:
220:
219:
214:
211:
210:
182:
173:
164:
142:
108:
104:
103:
95:
55:
53:
44:
17:
12:
11:
5:
2689:
2679:
2678:
2673:
2668:
2651:
2650:
2648:
2647:
2641:
2639:
2635:
2634:
2632:
2631:
2626:
2618:
2609:
2607:
2601:
2600:
2598:
2597:
2588:
2586:
2582:
2581:
2579:
2578:
2570:
2561:
2559:
2555:
2554:
2552:
2551:
2542:
2540:
2536:
2535:
2533:
2532:
2524:
2516:
2508:
2500:
2491:
2489:
2485:
2484:
2477:
2476:
2469:
2462:
2454:
2446:
2445:
2427:
2409:
2391:
2369:
2353:
2331:
2319:
2289:
2261:
2233:
2207:
2179:
2154:
2126:
2092:
2061:
2033:
2005:
1972:
1941:
1908:
1877:
1839:
1800:
1765:
1737:
1704:
1676:
1640:
1607:
1576:
1543:
1508:
1480:
1447:
1418:
1417:
1415:
1412:
1409:
1408:
1405:
1391:
1390:
1387:
1373:
1372:
1369:
1355:
1354:
1351:
1341:
1340:
1337:
1326:
1325:
1322:
1311:
1310:
1307:
1299:
1298:
1293:
1280:
1277:
1273:
1272:
1267:
1266:
1265:
1255:
1252:
1247:Sean McCann –
1245:
1240:
1239:
1238:
1228:
1225:
1222:
1218:Josh Bonati –
1216:
1205:
1203:
1200:
1196:
1195:
1192:
1189:
1185:
1184:
1181:
1178:
1167:
1163:
1162:
1159:
1156:
1152:
1151:
1148:
1145:
1141:
1140:
1137:
1134:
1130:
1129:
1126:
1123:
1119:
1118:
1115:
1112:
1108:
1107:
1104:
1101:
1097:
1096:
1093:
1090:
1086:
1085:
1082:
1079:
1075:
1074:
1071:
1068:
1064:
1063:
1060:
1057:
1053:
1052:
1049:
1046:
1042:
1041:
1038:
1035:
1018:
1016:
1013:
868:
867:
864:
856:
855:
826:
818:
817:
814:
806:
805:
802:
794:
793:
764:
756:
755:
752:
744:
743:
714:
706:
705:
681:
673:
672:
643:
635:
634:
605:
599:
598:
595:
591:
590:
586:
585:
582:
576:
575:
572:
568:
567:
557:
554:
535:
534:Vocal delivery
532:
508:Siouxsie Sioux
504:Dead Can Dance
326:
323:
283:moving forward
273:
270:
243:
242:
239:
238:
236:
235:
226:
224:Released: 2011
217:
215:Released: 2011
207:
204:
203:
193:
192:
189:
188:
185:
184:
175:
166:
152:
151:
144:
143:
141:
140:
137:
133:
131:
125:
124:
119:
113:
112:
101:
97:
96:
94:
93:
88:
83:
77:
75:
69:
68:
65:
61:
60:
50:
46:
45:
40:
33:
32:
24:
23:
15:
9:
6:
4:
3:
2:
2688:
2677:
2674:
2672:
2669:
2667:
2664:
2663:
2661:
2646:
2643:
2642:
2640:
2636:
2630:
2629:Jamie Stewart
2627:
2624:
2623:
2619:
2616:
2615:
2611:
2610:
2608:
2606:
2605:Former Ghosts
2602:
2595:
2594:
2590:
2589:
2587:
2583:
2576:
2575:
2571:
2568:
2567:
2563:
2562:
2560:
2556:
2549:
2548:
2544:
2543:
2541:
2537:
2530:
2529:
2525:
2522:
2521:
2517:
2514:
2513:
2509:
2506:
2505:
2501:
2498:
2497:
2493:
2492:
2490:
2488:Studio albums
2486:
2482:
2475:
2470:
2468:
2463:
2461:
2456:
2455:
2452:
2442:
2441:
2436:
2431:
2424:
2423:
2418:
2413:
2406:
2405:
2400:
2395:
2388:
2387:
2382:
2380:
2373:
2366:
2362:
2357:
2341:
2335:
2328:
2323:
2307:
2303:
2299:
2293:
2277:
2276:
2271:
2265:
2249:
2248:
2243:
2237:
2222:
2218:
2211:
2196:
2195:
2190:
2183:
2168:
2164:
2158:
2143:
2142:
2141:Rolling Stone
2137:
2130:
2115:
2114:
2109:
2105:
2104:Empire, Kitty
2099:
2097:
2081:
2080:
2075:
2068:
2066:
2050:
2049:
2044:
2037:
2022:
2018:
2012:
2010:
1994:
1993:
1988:
1981:
1979:
1977:
1961:
1960:
1959:The A.V. Club
1955:
1948:
1946:
1929:
1925:
1924:
1919:
1912:
1897:
1896:
1891:
1884:
1882:
1866:
1865:
1860:
1856:
1850:
1848:
1846:
1844:
1828:
1827:
1822:
1815:
1813:
1811:
1809:
1807:
1805:
1789:
1788:
1783:
1781:
1772:
1770:
1754:
1753:
1748:
1741:
1726:
1722:
1715:
1713:
1711:
1709:
1693:
1692:
1687:
1680:
1664:
1660:
1656:
1649:
1647:
1645:
1629:
1628:
1623:
1616:
1614:
1612:
1596:
1595:
1590:
1583:
1581:
1565:
1564:
1559:
1552:
1550:
1548:
1532:
1531:
1526:
1519:
1517:
1515:
1513:
1497:
1496:
1491:
1484:
1469:
1465:
1458:
1456:
1454:
1452:
1436:
1435:
1430:
1423:
1419:
1403:
1402:
1397:
1392:
1385:
1384:
1379:
1374:
1367:
1366:
1361:
1356:
1350:
1348:
1342:
1335:
1331:
1327:
1320:
1316:
1312:
1305:
1300:
1292:Chart (2011)
1290:
1287:
1271:
1268:
1264:
1260:
1256:
1253:
1250:
1246:
1243:
1242:
1241:
1237:
1233:
1229:
1226:
1223:
1221:
1217:
1215:
1211:
1210:
1209:
1208:
1193:
1190:
1186:
1173:
1160:
1157:
1153:
1149:
1146:
1142:
1138:
1135:
1131:
1127:
1124:
1120:
1116:
1113:
1109:
1105:
1102:
1098:
1094:
1091:
1087:
1083:
1080:
1076:
1072:
1069:
1065:
1061:
1058:
1054:
1050:
1047:
1043:
1030:
1027:track listing
1026:
1021:
1015:Track listing
1012:
1010:
1009:
1004:
1002:
995:
994:
989:
985:
984:
978:
973:
969:
965:
964:
959:
955:
951:
946:
943:
942:
933:
929:
922:
921:
920:The A.V. Club
916:
915:
910:
906:
905:
899:
898:
893:
892:
887:
883:
879:
875:
865:
863:
862:
858:
857:
827:
825:
824:
823:Rolling Stone
820:
819:
815:
813:
812:
808:
807:
803:
801:
800:
796:
795:
765:
763:
762:
758:
757:
753:
751:
750:
746:
745:
715:
713:
712:
708:
707:
682:
680:
679:
675:
674:
644:
642:
641:
637:
636:
606:
604:
601:
600:
592:
589:Review scores
587:
583:
581:
578:
577:
569:
564:
553:
550:
544:
541:
531:
529:
525:
521:
517:
513:
509:
505:
501:
497:
493:
489:
485:
481:
477:
472:
470:
469:
463:
459:
458:
450:
449:
444:
440:
439:Hammer Horror
436:
431:
430:
424:
420:
416:
412:
408:
403:
401:
400:
394:
390:
386:
382:
378:
374:
369:
368:
362:
360:
359:avant-gardist
356:
352:
351:
345:
344:
339:
338:
333:
322:
320:
316:
312:
308:
303:
298:
293:
290:
288:
284:
280:
269:
267:
263:
259:
255:
252:is the third
251:
250:
240:
227:
218:
209:
208:
205:
202:
198:
194:
190:
181:
180:
176:
172:
171:
167:
163:
162:
158:
157:
153:
149:
145:
138:
135:
134:
132:
130:
126:
123:
120:
118:
114:
102:
98:
92:
89:
87:
84:
82:
79:
78:
76:
74:
70:
66:
62:
51:
47:
43:
38:
34:
30:
25:
20:
2620:
2612:
2591:
2572:
2564:
2545:
2526:
2518:
2511:
2510:
2504:Stridulum II
2502:
2494:
2439:
2430:
2421:
2412:
2403:
2394:
2385:
2378:
2372:
2356:
2344:. Retrieved
2334:
2322:
2310:. Retrieved
2306:the original
2292:
2280:. Retrieved
2275:iTunes Store
2273:
2264:
2252:. Retrieved
2245:
2236:
2224:. Retrieved
2210:
2198:. Retrieved
2192:
2182:
2170:. Retrieved
2157:
2145:. Retrieved
2139:
2129:
2117:. Retrieved
2113:The Observer
2111:
2083:. Retrieved
2077:
2052:. Retrieved
2048:The Guardian
2046:
2036:
2024:. Retrieved
1996:. Retrieved
1990:
1963:. Retrieved
1957:
1932:. Retrieved
1928:the original
1921:
1911:
1899:. Retrieved
1893:
1868:. Retrieved
1862:
1855:Price, Simon
1830:. Retrieved
1824:
1791:. Retrieved
1785:
1779:
1756:. Retrieved
1750:
1740:
1728:. Retrieved
1695:. Retrieved
1689:
1679:
1669:December 23,
1667:. Retrieved
1663:the original
1658:
1631:. Retrieved
1625:
1598:. Retrieved
1592:
1567:. Retrieved
1561:
1534:. Retrieved
1528:
1499:. Retrieved
1493:
1483:
1471:. Retrieved
1467:
1438:. Retrieved
1432:
1422:
1400:
1382:
1364:
1346:
1285:
1269:
1257:Ryan York –
1081:"Hikikomori"
1024:
1019:
1006:
1005:
1001:Kitty Empire
993:The Observer
991:
987:
981:
976:
967:
961:
957:
953:
947:
939:
931:
927:
918:
912:
908:
902:
895:
889:
873:
871:
859:
821:
809:
797:
761:The Observer
759:
747:
709:
676:
640:The Guardian
638:
548:
545:
539:
537:
492:Stevie Nicks
475:
473:
466:
461:
457:Stridulum II
455:
446:
442:
435:Stridulum II
434:
427:
404:
397:
392:
384:
379:at a recent
365:
363:
354:
348:
341:
335:
331:
328:
304:
300:
295:
291:
275:
254:studio album
248:
247:
246:
200:
177:
169:
168:
159:
122:Sacred Bones
37:Studio album
2666:2011 albums
2645:Discography
2585:Live albums
2342:. Zobbel.de
2282:October 15,
2254:January 15,
1752:The Quietus
1697:October 11,
1600:October 11,
1263:double bass
1059:"Avalanche"
488:Patti Smith
429:The Quietus
423:electronica
377:Mike Patton
319:double bass
2660:Categories
2496:The Spoils
2481:Zola Jesus
2312:October 3,
2226:October 3,
2200:October 6,
2172:October 6,
2147:October 5,
2119:October 5,
2085:October 3,
2054:October 3,
2026:October 3,
2021:Metacritic
1998:October 6,
1992:PopMatters
1965:October 6,
1934:October 5,
1901:October 3,
1870:October 6,
1832:October 7,
1793:October 3,
1758:October 5,
1730:October 4,
1633:October 5,
1569:October 6,
1536:October 6,
1501:October 4,
1473:October 3,
1440:October 6,
1414:References
1158:"Collapse"
963:PopMatters
882:normalized
878:Metacritic
811:PopMatters
580:Metacritic
419:industrial
272:Background
258:Zola Jesus
150:chronology
148:Zola Jesus
91:electronic
56:2011-09-26
42:Zola Jesus
2566:Stridulum
2440:Billboard
2422:Billboard
2404:Billboard
2386:Billboard
2379:Billboard
2247:Stereogum
2221:BBC Music
2136:"Conatus"
1954:"Conatus"
1826:Pitchfork
1401:Billboard
1383:Billboard
1365:Billboard
1347:Billboard
1315:UK Albums
1297:position
1220:mastering
1202:Personnel
1136:"Shivers"
1008:Stereogum
972:BBC Music
958:Stridulum
932:Pitchfork
799:Pitchfork
549:Pitchfork
484:New Order
480:Tori Amos
468:Pitchfork
415:synth pop
389:Lady Gaga
2622:New Love
2547:Versions
2302:JB Hi-Fi
1725:AllMusic
1530:musicOMH
1251:, violin
1232:engineer
1214:producer
1103:"Seekir"
1070:"Vessel"
1048:"Swords"
950:AllMusic
897:musicOMH
711:musicOMH
603:AllMusic
407:AllMusic
337:musicOMH
221:"Seekir"
212:"Vessel"
201:Conatus
179:Versions
129:Producer
86:synthpop
64:Recorded
49:Released
39: by
2638:Related
2574:Valusia
2512:Conatus
2346:July 2,
1780:Conatus
1286:Conatus
1092:"Ixode"
1025:Conatus
988:Conatus
968:Conatus
954:Conatus
928:Conatus
909:Conatus
886:average
874:Conatus
540:Conatus
528:Gorecki
520:Bresson
476:Conatus
462:Conatus
443:Conatus
441:movie,
405:Still,
355:Conatus
332:Conatus
249:Conatus
197:Singles
183:(2013)
174:(2011)
170:Conatus
165:(2010)
161:Valusia
81:Art pop
54: (
22:Conatus
2625:(2010)
2617:(2009)
2614:Fleurs
2596:(2020)
2577:(2010)
2569:(2010)
2550:(2013)
2531:(2017)
2523:(2014)
2515:(2011)
2507:(2010)
2499:(2009)
2194:Filter
1279:Charts
1270:
1236:mixing
1183:Length
1147:"Skin"
1040:Length
941:Filter
804:7.7/10
597:Rating
594:Source
584:79/100
574:Rating
571:Source
311:violin
100:Length
2528:Okovi
2520:Taiga
2381:200)"
1691:Clash
1259:cello
1249:viola
1180:Title
1037:Title
997:'
935:'
924:'
907:gave
516:Munch
452:'
399:Clash
325:Style
315:cello
307:viola
287:Latin
285:" in
199:from
117:Label
73:Genre
2348:2021
2314:2011
2284:2011
2256:2012
2228:2011
2202:2011
2174:2011
2149:2011
2121:2011
2087:2011
2056:2011
2028:2011
2000:2011
1967:2011
1936:2011
1903:2011
1895:Spin
1872:2011
1834:2011
1795:2011
1760:2011
1732:2011
1699:2011
1671:2020
1635:2011
1602:2011
1571:2011
1538:2011
1503:2011
1475:2011
1442:2011
1353:175
1324:144
1309:158
1304:SNEP
1295:Peak
1194:3:33
1161:4:07
1150:4:21
1139:2:54
1128:4:27
1117:3:27
1106:3:44
1095:4:14
1084:3:47
1073:4:42
1062:3:20
1051:1:03
866:8/10
861:Spin
816:8/10
754:7/10
526:and
506:and
411:goth
375:and
373:Beck
364:The
67:2011
2558:EPs
2079:NME
1594:Now
1394:US
1389:30
1376:US
1358:US
1349:200
1344:US
1339:22
1334:OCC
1319:OCC
1188:12.
1176:No.
1155:11.
1144:10.
1033:No.
983:NME
749:NME
393:Now
350:Now
2662::
2437:.
2419:.
2401:.
2383:.
2363:.
2300:.
2272:.
2244:.
2219:.
2191:.
2165:.
2138:.
2110:.
2095:^
2076:.
2064:^
2045:.
2019:.
2008:^
1989:.
1975:^
1956:.
1944:^
1920:.
1892:.
1880:^
1861:.
1842:^
1823:.
1803:^
1784:.
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