Shakespeare’s works themselves play a rather limited role in Emmerich’s account of their genesis. More prevalent are plotlines concerning hunchbacks, illegitimate children, incest, various rebellions, and a vigorous medieval form of indoor tennis. Does all this sound bewildering? It is.
Zola Jesus’s previous two albums were, in a certain sense, more straightforward. Danilova, operatically trained since childhood, let her throaty, raw-yet-velvety voice dominate the arrangements by keeping atmospherics and instrumentals minimal. Her third venture into an almost gothic style of somber rock marks the evolution of her style away from this sparse aesthetic