11 Songs, 45 Minutes

EDITORS’ NOTES

After hearing her stunningly gorgeous fifth studio album, you might wonder if Kemado Records regrets dropping Marissa Nadler following 2009’s Little Hells. From the opening fairytale folk of “In Your Lair, Bear” to the dreamy lullaby closer “Daisy, Where Did You Go?,” these songs are Nadler’s most seasoned recordings to date. The album was funded by a Kickstarter campaign, produced by Brian McTear, and released on Nadler’s own Box of Cedar imprint. Even when the songs feature bass, percussion, vibes, and synthesizers, a feeling of sparse beauty pervades. With Nadler's voice at the forefront, songs like the wintry “Alabaster Queen” and the autumnally rootsy “The Sun Always Reminds Me of You” recall some of the more sublime moments from Hope Sandoval’s 2001 solo album, Bavarian Fruit Bread. But the standout song “Baby I Will Leave You in the Morning” elevates Nadler into the next level of her musical growth. Her gossamer vocals hover over the band with a ghostly presence while adding to the overall chemistry.

EDITORS’ NOTES

After hearing her stunningly gorgeous fifth studio album, you might wonder if Kemado Records regrets dropping Marissa Nadler following 2009’s Little Hells. From the opening fairytale folk of “In Your Lair, Bear” to the dreamy lullaby closer “Daisy, Where Did You Go?,” these songs are Nadler’s most seasoned recordings to date. The album was funded by a Kickstarter campaign, produced by Brian McTear, and released on Nadler’s own Box of Cedar imprint. Even when the songs feature bass, percussion, vibes, and synthesizers, a feeling of sparse beauty pervades. With Nadler's voice at the forefront, songs like the wintry “Alabaster Queen” and the autumnally rootsy “The Sun Always Reminds Me of You” recall some of the more sublime moments from Hope Sandoval’s 2001 solo album, Bavarian Fruit Bread. But the standout song “Baby I Will Leave You in the Morning” elevates Nadler into the next level of her musical growth. Her gossamer vocals hover over the band with a ghostly presence while adding to the overall chemistry.

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5:11
3:49
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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

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