I first stumbled upon post metal via an all noise stint in my youth, coming across Battle of Mice and Julie Christmas‘s vocals, and my perception of music and where it can take me was forever altered. The raw intensity and emotional depth of their sound opened my ears to a new spectrum of sonic possibilities, challenging and expanding my musical boundaries. 14 years after her solo debut, Julie Christmas is once again taking my hand and leading me through a labyrinth of dark and complex textures and feelings. Ridiculous and Full of Blood is a testament to her ability to channel primal emotions into a powerful and cohesive musical statement, pushing the envelope and redefining what post metal genre bending can be.
Ridiculous and Full of Blood starts swarming with the powerful drum-centric opener “Not Enough” which immediately sets the tone for the entire album — sounds that feel both chaotic and controlled, painting a post-apocalyptic musical picture where every note matters. Christmas’s voice is the star here, effortlessly shifting from sweet to shrill in a way that is both mesmerizing and jarring. For fans of Cult of Luna‘s Mariner, fret not, as vocalist Johannes Persson lends growl to “The End of the World” and “The Lighthouse”. With drums like a heart missing a few beats, layered vocals, and a post rock crescendo, the message is clear: this album can, and will mess with your head in the most charming of ways. As the album progresses, it soon becomes apparent that each song is perfectly sculpted to support and emphasize others.
Channeling what one could only name post pop vibes in “Supernatural”, this stands out as a surprising anthem with its infectious chorus. It encapsulates the album’s ability to help you get lost in the music and, paradoxically, find a deeper part of yourself in the process. Venturing into grittier territory and slightly more unrefined textures with songs like “Thin Skin” and “Silver Dollars”, with a big ballsy bass presence not too dissimilar to KEN Mode, Julie Christmas manages to construct a multi-faceted album full of twists and turns. Raw, idiosyncratic à la Bjork and with an ethereal energy reminiscent of Sigur Rós, Ridiculous is an experience that demands full immersion, leaving one with a sense of having journeyed through an emotional tempest. But perhaps the album’s most striking features rest in its production quality, the recording always cleverly keeps Christmas‘s voice at the forefront. Yet the rich tapestry of instruments that surround her never feels neglected (the synth works beautifully overall, and the toy piano in “Silver Dollar” took me back to Cocorosie’s debut). This balance adds depth and layers, making each track feel organically powerful.
Overall Ridiculous and Full of Blood exudes an innocence with a bite, a juxtaposition that ultimately defines its unique charm. It is difficult to decipher what informed this album, but I hope it comes from the same place as the emotions it puts across. Sadness intertwined with love, and the moody ebb and flow of the music make it sound deeply personal. This is Julie Christmas. And it’s me, and you, and every living, loving, breathing person. Real evidence of the idea that sometimes, music is just a healing wave. At the end of these 10 songs, I’m left elated and with not much to add except for the fact that I know this album will become one I will return to time and time again over the years. Let it take you there.
