Her last long player ‘Apocalypse Pop’ showed a further growth in what can only be described as a neoclassical amalgamation of synth and then Park took to the stage, performing in the Norwegian version of ‘Les Miserables’, playing the role of Fantine. The musical turned out to be the most popular in its genre and Park proved again that whatever she does, is perfection.
The break from her solo releases also gave way to the newest project PANDORA DRIVE, with whom the multi-talented artist released ‘Albino Heart’ EP earlier this year.
‘Blue Roses’ continues the trends set on ‘Apocalypse Pop’, with the eponymous single creeping from a melancholic affair, into an inferno of ominous sounding bass and powerful, if childlike vocals, building up to an expansive cinematic piece of dread.
Park goes for the throat here: “If you see me with a gun in my hand, stay off my sacred land”. Park comes back to basics here, using the tribal elements and keeping things demure.
The fear factor enters in ‘Roaring Ocean’ co-written with Richard X, which cuts through like a knife in a Kate Bush fashion and the piano has never sounded this spooky. Yet, there’s hope, there’s beauty, there’s a reason to go on.
The whole affair is rather poetic, almost Poe-esque, while ‘Glass House’ introduces bluesy connotations and reminisces the latest achievements from ZOLA JESUS. ‘The Sharp Edge’ announces itself in a melodramatic and discordant way, frightening the receiver further.
Park certainly returns with the renewed power, maybe with the additional militant elements she’s ready to take on new challenges, both sonically and visually.
Either way, ‘Blue Roses’ stands out… in KARIN PARK fashion.
‘Blue Roses’ is released by Djura Missionshus
Text by Monika Izabela Trigwell
Photo by Thomas Knights
17th November 2018