Zola Jesus - The Spoils (2009) [Sacred Bones] // Grade: B

If you grew up in the Midwest, you’re probably not surprised that the brand of lo-fi industrial led by Madison, WI’s Zola Jesus is the thing there right now. We’ve always had a soft spot for this stuff; something about the nasty winters, rampant racism and widespread poverty embeds in us a god-is-dead-and-no-one-cares vibe that we just can’t shake. Trust me. I’ve tried.

But however influenced by it, Zola Jesus (a.k.a. 19-year-old Nika Roza Danilova) isn’t writing from the standard Midwestern Ministry-Skinny Puppy tip. The Spoils is more Throbbing Gristle and Red Lorry Yellow Lorry than anything, and even then it’s softer and more subtly creepy, clearly a product of a classic Madison winter. I hate to make a Siouxsie reference—every remotely gothy girl gets that comparison, however inappropriate—but The Spoils really does feel like 10 versions of “Voodoo Dolly”, each of them rambling, atmospheric and eventually explosive in the way Siouxsie so deftly perfected.

That said, Zola Jesus—particularly her first two, way less sophisticated releases, but The Spoils too—is really polarizing. If you’re cool with aimless, zoned-out creepfests and don’t mind the occasional self-indulgent artiness, you’ll get into this, no problem. But if you cringe at stuff like Salem, and Wavves’ bedroom production ruins your life, don’t even try it. Unless you’re a closet-goth from the Midwest, in which case: Go. Buy. Now. We won’t tell anyone you secretly love it. Promise.