DEVORA’s “God is Dead”
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DEVORA’s “God is Dead”

Extended plays are too often wrought with unfocused passion and a lingering hesitant execution that is common among players in a transitional state of creativity, but this isn’t true of DEVORA’s God is Dead. Consisting of four simple but thoroughly engaging compositions, God is Dead is an EP feels more like a miniature album than it is a proper EP, and it makes use of each one of its fleeting tracks as though they were serving as the last opportunity for this singer/songwriter to express herself. She isn’t taking anything for granted in this record, and if I had to describe her new release in a word, it would be potent.


The harmony factor is rather brittle even in the heavier doses of melodicism courtesy of “Wild West” and “Pornstar,” and it can be said that DEVORA breathes vitality into every hook here through much more than the delivery of her lyrics alone. There’s an unrelenting sense of pessimism weighing on her shoulders throughout a good chunk of this performance, but instead of coming across as being self-indulgent, it sounds rather comforting amidst all of the bloated righteousness we’ve been hearing out of pop recently. This is a musician who doesn’t pull any punches, even if it means giving us an exquisite harmony flanked by a bitter, angst-ridden rhythm.

DEVORA’s words could be interpreted as scathing in a few key moments in God is Dead, but I like the unfiltered tone through which she constructs a narrative, especially in the case of songs like the title track and lead single “Bonesaw.” I feel like there’s so much more that she has to share here, as though she’s merely touching on a theme she wants to explore more in all four of these songs, but she doesn’t want to stretch herself too thin emotionally. This isn’t to say she’s holding something back from us, but instead to assert just how much potential she has moving forward into her next release.

The percussion is a stealthy force in “Bonesaw” and “Pornstar” alike, but its conservative placement in the grander scheme of things is nonetheless an important part of why the tracklist unfolds with as much ominousness as it does. There are moments in which the ebb and flow of the mood in God is Dead reminds me a bit of Wilhelm’s work, but with a far more robust tonal presence from the voice behind the shadows. DEVORA is unproven on the international level of the alternative rock underground, but she shows us that she has a lot of charm as an artistic entity in this personal selection of songs.


DEVORA takes us to the moon and back from a creative standpoint in God is Dead, and I’m eager to hear what she’s going to do for its sequel. Her musical moxie is one thing, but when she decided to implement the sense of moodiness we find around every twist and turn in the tracklist, it transformed these four songs from simple introductions to her sound into genuine bastions of emotionality, designed to give us her perspective like nothing else could have. All in all, this is one amazing EP for dark pop fans.

Troy Johnstone

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