Step into the avant-garde universe of BESS, the Copenhagen-based innovator who recently released a sonic revolution with her latest album, “Virginia Supreme” on August 17. BESS, a trailblazer in the avant-pop world, crafts an audacious and thought-provoking exploration of identity, gender, and societal norms through her genre-defying soundscapes and evocative storytelling. With “Virginia Supreme,” BESS invites us into a transformative journey, where each track serves as a chapter in a grand narrative of female empowerment and artistic liberation. Let’s join in her reign.
Opening the album is “Art Figure,” a track that offers a haunting exploration of identity and fluidity. The lyrics, “I’m a figure with no name, I’m a figure with no gender,” encapsulate the struggle of existing beyond societal labels. BESS’s soulful vocals, delivered with a raw edge, highlight the internal conflict of navigating a world that seeks to confine. With ethereal synths, the production of this track grounds the abstract themes in a tangible soundscape, further enriched by Annett Stenzel’s emotive piano.
The second track, “Drag Song” plunges into the avant-garde realm, where BESS confronts gender fluidity and societal norms with striking vulnerability. Lines like “My hips, my lips, my thighs, my eyes” pulse with self-awareness, challenging conventional femininity. Complementing her delivery is the song’s minimal production with tense basslines and introspective soundscapes, that create an immersive experience and blur the line between spoken word and music.
The next track, “I’m A Cat” showcases BESS’s playful yet profound approach, using whimsical instrumentation and quirky beats to explore self-identity and autonomy. The juxtaposition of playful melodies with introspective lyrics highlights BESS’s ability to blend humor with deeper emotional truths. She’s a genius!
As a soul-stirring ballad, “Gatekeeper” addresses the emotional weight of body image and societal expectations. The lyrics, “Yeah, you’re trying to tell me I’m wrong / And now you’re fucking gatekeeping this song,” resonate with defiant empowerment. The production features sampled flutes that long for healing, alongside enveloping synths and a subtle electric guitar. This mirrors the track’s introspective nature. Also, Sofia Due Rosenzweig’s music video visually amplifies these themes in the song, portraying a journey of self-doubt and transformation.
Moving on, “You Wrote The Books” is a powerful critique of historical dominance and gendered narratives. With lines like, “You wrote the books / But we knew better / That’s nothing more than dominance,” BESS delivers a bold statement against patriarchal constructs. The production of this song was well-crafted, thanks to the blend of moody synths, samples, and electric guitar that created a dynamic backdrop for BESS’s performance.
With “Maya” coming through as the album’s sixth track, it pays homage to Maya Deren’s Meshes of the Afternoon, melding dreamy, poetic atmospheres with visceral intimacy. The lyrics evoke fragmented reality, while BESS’s soulful vocals float over a soundscape of dragging beats and sensual synths. The electric guitar and deep bassline support a textured sound that pulls listeners into an introspective world.
Going into the “Future,” this sonic journey reflects desire and temporal contrast. With contemplative lines like “It’s all about desire / Die in the past / Live in the future,” BESS’s vocals deliver a mix of introspection and optimism. The production’s lush synths, dynamic beats, and additional vocal layers create a vibrant soundscape that complements the track’s forward-looking message.
The following track is “Surface.” A track that features Ditte Melgaard and offers a satirical critique of fashion’s superficiality. The lyrics, “Surface is the new slack, give me my speakers back,” coupled with funky bass lines and catchy rhythm guitars, make for an infectious and thought-provoking track that critiques the fashion industry’s focus on trends over substance.
As we move on to the “North South East West” of the album, BESS explores performativity and societal expectations with raw intensity. Her commanding vocals and lyrics like “I’m sending smoke signals, I’m burning out” are supported by a compelling blend of driving beats, haunting samples, and synths, creating a dense and immersive soundscape. It was a pleasure listening to this tune.
The Tenth track, “The Room Was Like My Face” delves into themes of self-empowerment and reclaiming personal power. With lyrics like “My cunt, my rose, my vagina, my pussy, my venus,” BESS’s evocative vocals are supported by ambient synths and intricate beats, creating a potent commentary on self-identity.
Now, “Yes He Was” challenges societal gender norms with its feminist autonomy. BESS’s raw vocals and lines like “So if you’re a feminist / You don’t have sexuality – you deny it” are delivered with defiant clarity, supported by minimalist production that complements the track’s incisive message.
The last but one song, “We Gather” is a contemplative track that blends introspection with spiritual exploration. The ethereal vocals and lyrics like “Let the will be me without an ego” are set against a spacious soundscape of hypnotic synths and ambient samples, reflecting a profound sense of unity and introspection.
Finally, “Art Figure Vol2,” featuring Annett Stenzel, revisits themes of identity through an artful lens. The track’s haunting atmosphere and lyrics like “I’m a figure without a name, I’m a figure with no gender,” are enhanced by emotive piano and layered instrumentation, creating a reflective and sometimes unsettling experience.
In conclusion, BESS’s “Virginia Supreme” is a groundbreaking work that defies conventions and invites us into a world of feminist exploration and sonic innovation. Each track is a testament to BESS’s artistic vision and commitment to exploring the complexities of identity and societal expectations. It’s a work of art that’s as thought-provoking as it is beautiful.
Listen to the “Virginia Supreme” album by BESS on Spotify or SoundCloud
Follow BESS here for more information.
PS: The artist was discovered on MusoSoup, and a contribution was made to publish this.
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