electropop / gothic / art pop
More like this – Grimes’ Halfaxa & Visions, Fever Ray’s self-titled, Zola Jesus, Gazelle Twin’s The Entire City, Drab Majesty
I only got to know Metal Mother seeing Pastel Ghost promote her on Twitter. As much as I love PG, I didn’t expect this to floor me given the er, Hot Topic flavor of her other peers. I was wrong. MM ticks countless boxes in my taste, and the same goes for most people who love their moody electronic ‘avant-pop’. I know you’re out there. Ionika knows just what I want from this stuff: an amorphous fog of synths, elaborate vocal layers, thundering rhythms and an ear for adventure. I can’t decide if it takes place in a magical glade or some dark future world. You could call those opposites and I’d agree, but this makes no difference to her!
What gets to me is how MASSIVE Ionika sounds. Let me get this clear: Mother’s production values are amazing. She gets an orchestra’s impact from vocal, synth and computer alone. With each song I’d give up with trying to count the layers as I tend to; I was too busy riding the adrenaline rush. This deserves to soundtrack a movie, not gather dust on Spotify! (It had two ratings total on often thorough Rateyourmusic by the time I listened.)
I had many pleasant callbacks to my other favorites (Fever Ray vocals in “Windexx’d”; early Grimes vibes in “Tactillium”) but it’s gloriously hard to box as a whole. It can fit so many contexts: a goth club (“Doomdome”), a cathedral performance (“Little Ghost”), a forest celebration (“Mind_off”). Tempo and volume flex to Mother’s whim, sometimes within the same song, yet nothing sounds misplaced.
Her vocals have a way of gliding around like a gust of wind. She adapts to both light and dark, from a fairy’s soul-searching mantra (“Prism”) to a creeping siren song (“Iona”). With something as dense as “Tactilium” she could be weaving spells around crumbling mountains. As I hoped, her music matches her name.
For all the wacky witch-house aesthetics, Ionika has a lot more going on than doom and gloom. MM likes to explore, even combine various emotions; something I wish more modern goth music did. It’s closer to a powerful exclamation from a cliff. You’re in touch with your spirit etc. and the waterfalls, releasing something deep inside. It has such a wonderful sense of harmony, freedom.