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There was a time when the identity of the person, or indeed people, behind iamamiwhoami was a mystery befitting the existential crisis that is the project's moniker. First coming to attention through a series of dark, mysterious YouTube videos speculation was rife as to who was behind it all. Common theories centred on artists such as Björk and The Knife, a testament to the act's wonderfully intriguing audio/visual releases. Today we know that the project is a collaboration between singer-songwriter Jonna Lee and producer Claes Björklund, with BLUE the latest release in a fascinating, innovative career.

Much like previous releases Kin and Bounty, this record marries the music to a series of short films, referred to as "episodes", which the duo has steadily been releasing over the last few weeks. Taking a much brighter, more expansive tone than its predecessors, it is no surprise to find that many of these videos focus on Lee filmed against natural backdrops of crashing waterfalls, lapping waves and softly blown grass. Taken solely as visual pieces they are simply gorgeous, evocative scenes, but combined with the duo's audio they become almost otherworldly.

Opening with rolling synth arpeggios, before giving way to a brooding, buzzing bass line, 'Fountain' is a dreamy, impressionistic number. Space is given to allow Lee's vocals to ring out over the backing, drenched in reverb to somewhat obscure the message. However, the way the song is structured, with rolling waves of sound is enough to communicate the idea of being washed clean which is further evidenced when you begin to dig into the lyrics more. Fountain' then, with it's twinkling synths, like light reflected off of rippled water, is the sound of the duo's artistic rebirth.

Fans of iamamiwhoami needn't worry about this being a sudden volte-face with regards to sound, much of what made the duo special remains intact, it is just projected differently. Lee's vocals remain mysterious throughout, her lyrics still transmitted through layers of reverb and her cadence makes ordinary words almost unrecognisable. Combined with the more expressive instrumentation it's almost as though the duo are somehow alien to this realm - a characteristic that implores you to focus in a little more and search a little harder to unlock their secrets.

BLUE operates on a more superficial level as well. The running bass riffs on tracks like 'Hunting for Pearls' push the duo closer to danceable territory, whilst the vintage sounding synthesisers used throughout the record give a rich texture that was sometimes missing from Kin and Bounty. Tracks like 'Vista' shimmer with icy synthesiser chords that complement Lee's voice. The result is a more accessible, but no less rewarding record.

Take 'Thin' for example. Easily one of BLUE's highlights, it opens with clanging, industrial percussion that sets it apart from anything else here. Again room is given for Lee's vocals to breathe (something that really improves upon previous releases) and a quiet arpeggiated synthesiser is introduced in the background. Then suddenly the whole tone of the song is changed with the introduction of a steady, kick beat and choral vocals blending with Lee's voice. The arpeggiated synth is also given more prominence before the whole tempo of the song is shifted down, taking the song from its industrial beginnings to a glorious chillwave finale.

Not all the songs are as strong as 'Thin' though. 'Chasing Kites' which follows, is a decent enough song with Lee's vocals recalling Kate Bush, whilst Björklund's production seems influenced by M83, but overall it's a rather ordinary synth pop track. Unlike some of the other tracks on BLUE, it could easily be mistaken for the work of another artist. It also highlights the album's biggest weakness in comparison to its predecessors in the fact that the weirdness that made the duo so intriguing has been lost.

That's not to say that this record is any less interesting or enjoyable. Times move and another dark electronic record could have resulted in the duo seeming like they'd run out of ideas. BLUE is a bold step in the right direction - accessible without losing a sense of innovation, alien but not alienating. Jonna Lee and Claes Björklund have created a record that they hope will stand the test of time and whilst it remains to be seen if that is the case, BLUE is a beautiful, engaging record that entertains as much as it inspires.

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