Cool Album Out This Week: Sharon Van Etten - "Remind Me Tomorrow"
Maybe a couple days late on this one, but the music below is too great to miss! This week, I recommend checking out singer/songwriter Sharon Van Etten, who broke new ground in the indie folk world with her two Jagjaguwar releases, Tramp (2012) and Are We There Yet (2014). The long wait for new music has proved worth it, as this record might be her best to date - - - - - - - - - - - -
Remind Me Tomorrow is further proof that John Congleton is one of the best producers out there. Not only did TWO albums of his come out yesterday (the equally impressive Lost Under Heaven sophomore album), but he managed to bring the great Sharon Van Etten out of her folk-y shell and enhance her intimately emotional sound to its most resonant peak. Adding new tricks to her indie templates, Van Etten crafts her songs more intently than ever before, with thrilling and captivating results.
John Congleton has produced an amazingly wide range of albums: the last five years alone have included work from St. Vincent, Cloud Nothings, Angel Olsen, and Explosions in the Sky, to name just a few. More recently, 2018 brought us his collaboration with the Decemberists, the album I’ll Be Your Girl. The concept of altering a folk-inspired band with modern practices comes widely into play here, similar to the shifts on Remind Me Tomorrow. However, the end result itself is far greater on this album, with a highly focused output giving off a more personal rather than scattered vibe. Instantly, the opening track "I Told You Everything" establishes an ethereal connection to the listener, with a poignant but tenuous grasp on her fragile emotional state. This song has a wonderful story to tell, but lyrically is so simple it could mean or apply to anything the listener wants to interpret. "No one's easy to love," "hey, you're the comeback kid," "I used to be seventeen" - all statements that could resonate with someone who has no idea the specifics of the song.
Of course, the lyrics would seem far less direct without the rougher approach taken here. "No One's Easy to Love" especially marks this diversion into synth leads and pulsing beats, though "Comeback Kid" and "Seventeen" are perhaps a little stronger on this front. Still, every song here has its heart-rending moments, so I recommend a front-to-back listen for the full experience. As a final note, I must point out the odd but fitting video accompaniment on Spotify, which has grainy recording footage of Van Etten playing each song. A strange but personal view supplementing the listening experience, while not necessary, is certainly novel.
Remind Me Tomorrow is further proof that John Congleton is one of the best producers out there. Not only did TWO albums of his come out yesterday (the equally impressive Lost Under Heaven sophomore album), but he managed to bring the great Sharon Van Etten out of her folk-y shell and enhance her intimately emotional sound to its most resonant peak. Adding new tricks to her indie templates, Van Etten crafts her songs more intently than ever before, with thrilling and captivating results.
John Congleton has produced an amazingly wide range of albums: the last five years alone have included work from St. Vincent, Cloud Nothings, Angel Olsen, and Explosions in the Sky, to name just a few. More recently, 2018 brought us his collaboration with the Decemberists, the album I’ll Be Your Girl. The concept of altering a folk-inspired band with modern practices comes widely into play here, similar to the shifts on Remind Me Tomorrow. However, the end result itself is far greater on this album, with a highly focused output giving off a more personal rather than scattered vibe. Instantly, the opening track "I Told You Everything" establishes an ethereal connection to the listener, with a poignant but tenuous grasp on her fragile emotional state. This song has a wonderful story to tell, but lyrically is so simple it could mean or apply to anything the listener wants to interpret. "No one's easy to love," "hey, you're the comeback kid," "I used to be seventeen" - all statements that could resonate with someone who has no idea the specifics of the song.
Of course, the lyrics would seem far less direct without the rougher approach taken here. "No One's Easy to Love" especially marks this diversion into synth leads and pulsing beats, though "Comeback Kid" and "Seventeen" are perhaps a little stronger on this front. Still, every song here has its heart-rending moments, so I recommend a front-to-back listen for the full experience. As a final note, I must point out the odd but fitting video accompaniment on Spotify, which has grainy recording footage of Van Etten playing each song. A strange but personal view supplementing the listening experience, while not necessary, is certainly novel.
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