For more than 12 years Marissa Nadler has perfected her own take on the exquisitely sculpted gothic American songform. On her seventh full-length, Strangers, released 20th May on Bella Union , she has shed any self-imposed restrictions her earlier albums adhered to, stepped through a looking glass, and created a truly monumental work.Today Nadler has shared “Janie in Love”, one of her most texturally rich songs to date and one that updates her signature sound with some of the most prominently featured drumming of her career.
1. Winter Lady- Leonard Cohen
2. Learning to Fly- Tom Petty
3. Birds- Neil Young (after the goldfish)
4. Farewell Angelina – Bob Dylan (bootleg series vol. II)
5. You Don’t Miss Your Water – William Bell
6. The River- Bruce Springsteen (off of the River)
7. Motel Blues – Loudon Wainwright III
8. Distortions- Clinic
9. Sara – Bob Dylan (off of Desire)
10. The Book Of Love- The Magnetic Fields (69 Love Songs)
11. Avalanche – Leonard Cohen (off of Songs of Love and Hate)
12. All My Trials (spiritual, traditional)
13. Close Your Eyes I’ll Be Here In The Morning (Townes Van Zandt)
Boston-based singer-songwriter Marissa Nadler is back with a new album to follow her self-titled 2011 LP and its companion piece The Sister. It’s called July, and it’s out February 4 via Sacred Bones in the U.S. and February 10 via Bella Union in the UK.The album was recorded at Seattle’s Avast Studio with producer Randall Dunn (Earth, Sunn O))), Wolves in the Throne Room). Eyvind Kang (strings), Steve Moore (synths), and Phil Wandscher (guitar) all contribute to the album.
Nadler six full-length albums has shown she has a special gift for crafting portraits within her songs. Five of The Sister‘s eight songs are about a clearly defined character. In addition to the burnout rock singer of “Constantine”, there’s the sad soul of “Christine” (“I find you deep inside your den/a home to your bones, and then/escort you to court you but you’re firmly dying, instead”). In the past, overemphasized instrumentals might have distracted from the figure central to “Love Again, There Is a Fire” (“Mary, Mary, never died/like we thought she would”), but here there’s only a subtle piano supplementing her words. With its feet firmly planted in the minimalist end of the folk pool, this album gives Nadler’s lyrics extra room to stretch out and breathe, and her sorrowful characters have the opportunity to come to life.
mp3 VBR~235 kbps | 58MB | DF
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