What does ionnalee, iamamiwhoami sound like?

Nordic synth pop with an ethereal and angular edge.

The review of ‘Blue in Concert (Live Versions) by ionnalee, iamamiwhoami

The musical world of Ionna Lee and iamamiwhoami continues to cause general naming mayhem as both projects come from the same artist, but that is the only drawback from this excellent new release. To celebrate the 10th anniversary of her anthemic synth-pop album ‘BLUE’, Ionna Lee toured the album around the globe. To round off the celebration, the reworked arrangements of the album are now available as a studio recording.

The album is here in its entirety and in track order, but with two additions. First is the new track ‘Still Blue’. This is a glossy and rich vocal-led stream of synths that reworks the title track’s lyrics into a gentler encore. Rounding off the release is ‘Dive’, a track that was released as part of this song cycle after the album launch. It is by far the moodiest track of the collection, and the bassy Bodhran-like kick drum turns this version into a ceremonial calling before the electro-pop elements take over.

Each song has something new or different about it. Overall, the drums are thicker and heavier, evoking a live club spirit. ‘Fountain’ is meatier, and the sympathetic pizzicato-like string synth melodies are clearer and pointier. ‘Hunting For Pearls’ has a different outro that sounds crafted for stage presence and a change of scenery. ‘Vista’ sounds like a homage to modern-day Utada Hikaru with how the synths are more restrained yet pulsating. ‘Tap Your Glass’ is extended with a new and quirky bubble arp intro, that returns for bridges and codas. The streamlining of the synths and keyboards makes this track feel particularly more retro-dancey.

‘Blue Blue’ is one of the few tracks that is more restrained. With the synths turned down low, Ionnalee’s vocals are paired with some beautiful background vocals for some peaceful, reflective moments of top-tier synth-pop. ‘Thin’ pairs the pulsating and dramatic melody with percussive breath work. Previously mysterious, now slightly more sinister, the song has a new lease of life with the more expressive and unteathered vocals. ‘Chasing Kites’ turns up the bass synths to shake your sub-woofers and maintain its iconic dancefloor anthem status. ‘Ripple’ was the experimental explosion from zen origins on the album, and that stays the same here. From streaming waters to a rhythmic rave, it’s a wonderfully strange beast. ‘The Last Dancer’ plays with vocal echoes, tuned percussion, and a heavier swing in its beats to elevate the track from the original. Lastly, ‘Shadowshow’ sounds more dangerous and creepier than the original since the reverb is reduced.

Fans of the original album will find plenty of differences here to warrant a double dip. ‘Blue’ remains a personal favourite album of the mid 2010’s, and I think some of these live versions rival and at times provide an even better rendition of the songs. Now I have two ultimate versions to hunt pearls and chase kites with. I was gutted to not get to see Ionnalee live on this tour, so this is the perfect souvenir for fans of her work. As it is studio-recorded, it also works as a great introduction to an artist who has been at the forefront of emotionally charged art pop for over 16 years. To Whom It May Concern… Dive in.

Recommended track: Chasing Kites

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