July by Marissa Nadler on Apple Music

11 Songs

EDITORS’ NOTES

It’s taken this otherworldly singer/songwriter six albums to find herself at the center of the songs. Perhaps it isn’t her failed love she sings of throughout July, but that’s highly doubtful given the intimacy shared here; her lyrics previously shied from telling us anything too concrete. The production by Randall Dunn, whose previous credits include doom-drone-metal gods Earth and Sunn O))), focuses on Nadler’s vocals and works the instrumentation from there. Heavy reverb continues to envelop her every note, but Eyvind Kang’s strings, Steve Moore’s synths, and Phil Wandscher’s supportive guitars never intrude with the conversation she’s having with her ex-lover. Songs such as “Drive” and “1923” maintain a placid front, with the stirring “Dead City Emily” and “Was It a Dream” cranking up the intensity with multi-tracked vocals that battle one another, like sirens fighting for their song. Gentle fingerpicked guitars lure one into the cauldron of “Desire.” Like a chamber-folk mass intended as the final conflagration, July hits fever pitch (“Anyone Else”) before settling into “Nothing in My Heart,” where only time will tell what truly remains.

EDITORS’ NOTES

It’s taken this otherworldly singer/songwriter six albums to find herself at the center of the songs. Perhaps it isn’t her failed love she sings of throughout July, but that’s highly doubtful given the intimacy shared here; her lyrics previously shied from telling us anything too concrete. The production by Randall Dunn, whose previous credits include doom-drone-metal gods Earth and Sunn O))), focuses on Nadler’s vocals and works the instrumentation from there. Heavy reverb continues to envelop her every note, but Eyvind Kang’s strings, Steve Moore’s synths, and Phil Wandscher’s supportive guitars never intrude with the conversation she’s having with her ex-lover. Songs such as “Drive” and “1923” maintain a placid front, with the stirring “Dead City Emily” and “Was It a Dream” cranking up the intensity with multi-tracked vocals that battle one another, like sirens fighting for their song. Gentle fingerpicked guitars lure one into the cauldron of “Desire.” Like a chamber-folk mass intended as the final conflagration, July hits fever pitch (“Anyone Else”) before settling into “Nothing in My Heart,” where only time will tell what truly remains.

TITLE TIME
5:36
5:39
4:38
2:51
5:53
3:56
2:29
5:32
3:43
3:33
2:13

About Marissa Nadler

American singer/songwriter Marissa Nadler blends traditional folk, Gothic Americana, and dreamy pop into an original musical framework. Raised in a small town in Massachusetts, Nadler took to painting first, a passion she continues to indulge, but the love of music drove her to become a proficient guitarist and songwriter. Nadler's compositions sound otherworldly, even timeless. Her first two albums, Ballads of Living and Dying (2004, Eclipse) and The Saga of Mayflower May (2005, Eclipse) were largely acoustic affairs that featured her mezzo-soprano voice and guitar accompanied by banjo, bells, and penny whistle. On Songs III: Bird on the Water (2007, Peacefrog, Kemado), synthesizers were used for the first time, as were strings and harp. With 2009's Little Hells, the songwriter began opening up her sound to include percussion, pianos, Wurlitzer, and standard rock instrumentation. She toured almost constantly and garnered global acclaim for her recordings and performing. In 2010, she threw fans a curve by appearing as the vocal chorus on Portal of Sorrow, from one-man black metal band Xasthur. Surprisingly, she was dropped by Kemado/Mexican Summer. Undaunted, she launched a successful Kickstarter campaign and raised the funding for her next recording.

In the early spring of 2011, Nadler released "Baby I Will Leave You in the Morning," the first single and video from the fan-funded, self-titled album; it was released in June on her Box of Cedar Records. Nadler issued a follow-up to her critically lauded eponymous album, The Sister, in the spring of 2012. Its arrangements dovetailed with those of its predecessor. Signing with Sacred Bones (distributed by Bella Union), Nadler released the album July in February of 2014, marking her first collaboration with engineer/producer Randall Dunn. The album featured studio appearances from Eyvind Kang, Phil Wandscher, and others. In 2016, she and Dunn collaborated again on Strangers. Here, Nadler stepped out from writing mostly autobiographical songs and penned more character-driven narratives. The set's first single, "Janie I Know," was issued in February. The album appeared in May. ~ James Christopher Monger

  • ORIGIN
    Washington, D.C.
  • BORN
    Apr 5, 1981

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