Review: iamamiwhoami - BLUE
By Megan Fair, Copy Chief
[To whom it may concern.; 2014]
Rating: 6.5/10
Key Tracks: “blue blue,” “thin,” “chasing kites”
In a genre dominated by Diplo and Skrillex, tutus, party drugs and twerking, it’s hard to remember that electronic music can be art. But whenever you feel like making the statement, “All music made with computers is garbage! The only authentic music is rock ’n’ roll!!!” pause and consider the array of electronic artists who are actively making expansive music from such equipment; case in point, iamamiwhoami and its audiovisual journey of BLUE.
iamamiwhoami is Swedish musician Jonna Lee paired with the production of Claes Björklund and Wave, a collective of directors including Lee, cinematographer John Strandh and set designer Augustín Moreaux. In addition to this usual team, Lee has commissioned designer Mathieu Mirano for BLUE. What happens when you combine the talents of these wickedly creative Swedish minds? An audiovisual album with an unforgettable sound and an accompanying series of chill-inducing videos.
Perhaps its most accessible record yet, BLUE shows off a side of iamamiwhoami that features memorable melodies and a wide array of synth while still featuring unique and challenging music. The imagery is bizarre yet beautiful, and the project itself may not yet be quite accessible to the typical Top 40 fiend, but there’s a subtle sense of movement to reach out to the mainstream. This move towards accessibility in sound does not reflect the artistic integrity of iamamiwhoami by any means; BLUE was released on its own label, To whom it may concern.
The continuity between videos and lyrics lends itself to a mysterious and interesting narrative. Only seven out of the 10 videos have been released, so its conclusion is yet to be determined, but the visuals of stunning landscapes serve to accent the organic feel of the music. It’s hard to grasp that such electronic heavy music can somehow capture the essence of an icy landscape or the awesome power of the waves, and yet BLUE does just that.
Lyrically, the tracks are simple but full of natural imagery, especially water images. The opening half of the album feels chillier and more rigid, echoed in the videos’ Icelandic and snowy settings. As the album progresses, the sound grows a little more fluid and warm, matched by the scenery changes to warmer beaches.
There is a three song block that transitions the record, and these three songs are by far the best on the record. “blue blue” begins this move, the ethereal track resting under choruses of airy vocals singing, “Lift me up and make me soar / Out of the blue, blue / I’ll be new.” The youthful track emulates the loving rebirth described throughout its lyrics.
“thin” is perhaps the best track on the record, its initial bouncy instrumentation bleeding into a sparse yet big and wide open sonic half-time episode. The lyrics reflect the sound: “The kind of thin I came to be / After being swallowed whole / By offering a piece of me / To any given fool.”
“chasing kites” is yet another amazing orchestration, and its celebratory feel is a bit reminiscent of M83. If any track has radio potential, it’s certainly “chasing kites,” as its dance-inducing beat and infectious melody are well-suited for less avant-garde palates.
While BLUE is an amazing work of art, the average listener may not be impressed by the experience. It’s a long, exhaustive album that requires attention, and it’s best enjoyed while watching the whole saga of accompanying cinema. For those who don’t usually seek out electronic music, the inevitable same-ness of synthetic sound may become uninteresting. On the other hand, if you’re a fan of art and well-executed electronica, BLUE is an album worth revisiting 100 times over.
