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The Norway lads had no idea of winning the game until they had admired the silver ball, which was in a silk-lined jeweler's case and looked very attractive.As they were admiring it, some of the Bowdoin boys told them how they were going to have it kept in a glass case and had picked out the place where it should be kept for the admiration of future generations.Over a disquieting Möbius strip keyboard line, she performs a wordless fanfare, sing-chants the verses, and splits into a choir of singers on the vocal hook. Hval goes deliberately flat, savoring the pulsating dissonance, until all that is left is a high, tensile note that wavers in either distress or desire.Rather than alienating, it’s actually inviting: a strange and powerful performance.By far the most significant figure among these songs is also the most human: Renée Falconetti, the silent-film star whose close-up in 1928’s is one of the most indelible images in the history of cinema.“The camera is a mirror, but mine, not yours,” Hval sings as an organ thrums in the background and a low bass note pulses on the downbeat.

H., and Harry Virgin of Portland (still living there) kept the score, and the late Judge A.

In the past, her music has tended toward subdued art-pop; as this title suggests, her new album is more direct, more brazen, more aggressive, and more provocative, both conceptually and musically.

On “Mephisto in the Water”, a standout off her second solo album for Rune Grammofon, the Norwegian singer/songwriter/novelist/critic/academic/provocateur Jenny Hval bends her voice into unusual and unexpected shapes. On the protracted bridge, her voice warps and mutates and turns the syllables into pure sounds.

She’s obviously having a blast throwing these figures and narratives against one another, and her irreverence suggests a playfulness that dispels any hint of pretension.

Yet, she keeps the focus squarely on her commanding vocals, which means you don’t need to know Carl Theodor Dreyer from Laura Mulvey to appreciate this album.