"While the Justin Biebers and Lana Del Reys of the world have been in the thrall of "Hypepriest" Judah Smith, the underground set have been seeking wisdom from their own spiritual guide: Sister Irene O'Connor, a Franciscan nun from Australia whose 1973 album Fire of God's Love has been sampled by mainstream-y tastemakers like James Blake and Vegyn, was featured in Killing Eve, and become an unexpected grail for crate-diggers, with original vinyl copies selling for upwards of $500 on Discogs."
"This is fitting territory for Freedom to Spend, the reissue arm of cult electronic label RVNG International, which has released wondrous long-lost synth records by Danielle Boutet and Gregory TS Walker in recent years, although telling a friend about "this awesome synth-pop record by an Australian nun" does feel a little like a parody of underground reissue fandom. And, truthfully, nothing on Fire of God's Love could ever be mistaken for secular music."
""Fire (Luke 12:49)," the record's best-known track, comes closest, thanks to a creaky, decaying dub rhythm seemingly at odds with Sister Irene's hypnotic, piercing vocals, which charge through the song with an uncanny combination of weightlessness and intent. Like much of Fire of God's Love, it is curiously unnerving; although Sister Irene ostensibly made music to both celebrate her faith and make worship sound appealing to younger generations, the song's circuitous minor chords feel itchy and anxious,"
Sister Irene O'Connor is a Franciscan nun from Australia whose 1973 album Fire of God's Love has been sampled by James Blake and Vegyn, featured in Killing Eve, and commands high original vinyl prices on Discogs. The album contains original spirituals performed on acoustic guitar, piano, early synths, and drum machines, blending haunted pseudo-dub, winding Masses, and chirpy pop ditties. The reissue on Freedom to Spend aligns with RVNG International's cult electronic catalog. Tracks like "Fire (Luke 12:49)" pair creaky dub rhythms with hypnotic, piercing vocals and anxious minor chords, producing an unnerving but devotional sound aimed at younger worshippers.
Read at Pitchfork
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