Elohim’s second eponymous release is edgy electropop for everyone.
For somebody who has now released two self-titled releases, Elohim seems to have something of a confidence crisis. Over the past couple of years, she’s been turning out catchy and captivating electronic tunes that have ranged from the catchy anthems of spiritual rebellion (F*ck Your Money) to oddly claustrophobic storms of sound (Skinny Legs). It’s a great deal of variety, but it’s only on debut full-length album Elohim that we really start to get a better view of Elohim’s personality.
It’s also only when we hear the previously released songs set against the context of this album that we can really begin to appreciate their dark natures and feelings of anxiety. The first half of the album, with a handful of exceptions, is largely made of tracks we’ve heard before, but it’s the inclusion of Sleepy Eyes that causes the underlying anxiety to come to the fore. While it’s a slow beat, Sleepy Eyes is an oddly uplifting listen with Elohim’s distinctive vocals dancing on a faintly tropical rhythm, which is a stark contrast to the surrounding tracks.
But once the first few tracks are out the way, Elohim perks up and begins to drop more positive tracks. The Universe Is Yours is a slower number that serves as almost an electropop ballad for passionate lovebirds, while Half Love – as we previously noted – is a mainstream accessible, lovestruck electro-anthem. It’s almost as if Elohim got much of her self-doubt and anxiety out of her system prior to the album’s recording sessions, leaving more positive sentiments for the album’s tracks.
This pays off in a couple of stand out moments that are so strong they could have been the only new songs on the abum and still made it feel fresh. The first, I Want You, is arguably Elohim’s most confident single to date. It’s a sultry, seductive track that creeps in and builds to an explosive climax of lustful energy and sexual self-confidence.
It’s remarkably out of the ordinary for Elohim, which makes it feel even more special. She contrasts her typical, higher-pitched and strangely pure voice with a faintly distorted vocal that is urgent and dominating, making for an inimitable moment of self-empowerment.
Following this, Elohim purifies herself again with Not Just Your Mama, which positions itself as a playful anthem of love that bounds out the speakers on summery synths and a soft flurry of percussion. It’s a simple pleasure that builds momentum perfectly throughout the track and has all the trademarks of a summer anthem.
The truly remarkable thing about Elohim’s debut is that there is something on offer for everybody, without the release feeling disjointed. For the self-assured party-goers, tracks like Not Just Your Mama and Half Love fit the bill; for those suffering from insecurities or sadness, tracks like Hallucinating and Insecurity will resonate strongly. Elohim doesn’t exclude anybody, even going as far as briefly swapping style entirely on Panic Attacks for a more chilled out, acoustic track.
It’s a massive risk to offer so much variety on a debut album, but Elohim executes it perfectly. The release serves as a portfolio of electropop gems that each has its own specific purpose and place in the genre.
Few artists are fortunate enough to have the versatility of sound that Elohim has, and even fewer can balance it so magnificently. If you’ve not had the good fortune of coming across Elohim before, here is the perfect introduction for everybody.