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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Marissa Nadler
Title | For My Crimes
Genre | Indie Format | Album
Source | CDDA Time | 34:04
Label | Bella Union Store | 2018
Catalog | BELLA803CD Rip | 2018
Bitrate | 223 kbps Size | 57.30 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. For My Crimes 4:17
02. I Can't Listen To Gene Clark Anymore 2:54
03. Are You Really Gonna Move To The South 3:31
04. Lover Release Me 2:27
05. Blue Vapor 3:26
06. Interlocking 3:55
07. All Out Of Catastrophes 2:12
08. Dream Dream Big In The Sky 2:53
09. You're Only Harmless When You Sleep 2:54
10. Flamethrower 2:33
11. Said Goodbye To That Car 3:02
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
American singer/songwriter Marissa Nadler blends traditional folk, Gothic
Americana, and dreamy pop into an original musical framework. Her music is
idiosyncratic, bearing a unique and imposing signature for its sparseness
and interiority, yet it opens onto haunted vistas embraced by fans of
genres ranging from indie folk to black metal. While her first two albums
were celebrated for their skeletal instrumentation, it was 2007's "Songs
III: Bird On The Water" that put her on the global map and drew the
attention of musicians ranging from black metallers Xasthur to indie
rockers Xiu Xiu.
When Nadler delivered "Strangers" in 2016, she offered an evolution of the
aesthetic that held sway on her previous six full-lengths. Produced by
Randall Dunn, the album's sound was much fuller and atmospheric. The
speaking voice in her songwriting also began to shift from first-person to
a kind of storytelling that observed the inner lives of external
characters. On "For My Crimes" she rebalances again. Co-produced with
Lawrence Rothman and Justin Raisin, Nadler pares back her arrangements with
a largely female cast.
Strings by Janel Leppin, harp from Mary Lattimore, and bass by Eva Gardner.
Angel Olsen, the Dum Dum Girls' Kristin Control, and Sharon Van Etten
alternately provide backing vocals, and Hole drummer Patty Schemel guests
on a track. Nadler's songs alternate between first-person paeans to
heartbreak and loss, and an even more finessed and focused external mode of
storytelling that plumbs the depths of human experience. It's at work in
the opening title track which details the thoughts and memories of a
prisoner on death row who wishes not to be remembered for her misdeeds.
It's stark and desolate as Olsen's voice underscores each syllable in the
refrain and Leppin's strings paint the margins with a Gothic backdrop. Van
Etten guests on "I Can't Listen To Gene Clark Anymore". As Leppin's
gorgeous strings create a foundation, Nadler's strummed electric guitar
lulls underneath as a melody that bears a whispered resemblance - in places
- to Bob Dylan's "I Shall Be Released". Her lyrics poetically detail the
impossible consequences of a long distance romantic relationship. "Blue
Vapor" is perhaps the set's finest entry.
Playing electric guitar, bass pedals and Hammond B-3, Nadler is accompanied
by Kontrol, Leppin, Schemel, and the only male present here, Morphine
saxophonist Dana Colley, in a brooding rocker that details both sides of a
co-dependent relationship. The chanted refrain becomes a wheel hub for
cellos, guitars, and snares to turn on, while her mezzo soprano, entwined
with Kontrol's alto, create a gentle but anthemic chorus. Nadler reflects a
more personal view on the harrowing "You're Only Harmless When You Sleep"
('Moonlight skies upon us/There's freeze over our sheets/I'm drawn by lust
and lawlessness/You saw my death in a dream').
"Flamethrower" is a gauzy, all-too-brief folk song played in a duet with
Leppin. Its lyric refers to incidents and scenes in Rachel Kushner's
award-winning novel The Flamethrowers, but the lyrics and melody are
delivered with Nadler's own claustrophobic sense of intimacy. While "For My
Crimes" contains her unmistakable signature in both songwriting and sound,
as a whole it point to an open door for new possibilities to emerge in the
future. It's sophisticated and emotionally arresting, it's among the finest
offerings in her catalog.
┌────────┐
────┤ Salute ├─────────────────────────────────────────────────────────────────
└────────┘
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