Photo credit: www.theguardian.com
Sharon Van Etten last captured public attention in 2022 with her album, *We’ve Been Going About This All Wrong*, illustrated by a striking cover where she stands before an encroaching wildfire. The themes of the album resonated with the current global crises, including the ongoing environmental emergencies and the often tumultuous experience of parenthood during lockdowns. The album received positive reviews and charted well internationally, marking another successful chapter in her established career as a noted singer-songwriter. However, the familiarity of her sound prompted a moment of reflection—a desire for something different.
Over the years, Van Etten has steadily expanded her musical palette, transitioning from the raw acoustic elements of her early work to a more polished alt-rock sound characterized by rich instrumentation and engaging melodies. The evolution was apparent in *We’ve Been Going About This All Wrong*, which, while capable and mature, didn’t stray too far from her established formulas. Critics noted terms like “comfortable” and “familiar,” which, while positive, hinted at a lack of innovation.
Her forthcoming album marks a significant departure from this trend. This new project embodies a spirit of collaboration, showcasing not just Van Etten as a solo artist but revealing her as a bandleader sharing the spotlight. The accompanying visuals depict her and her collaborators in a darkly stylized aesthetic reminiscent of goth culture, indicating a thematic and stylistic shift.
Musically, the album draws on 80s influences, yet presents a sound distinctly belonging to a new era. The track *Live Forever*, for instance, channels a moodier vibe—akin to what one might expect from a rebellious character in a classic 80s film rather than an uplifting soundtrack. The incorporation of electronic elements alongside driving drum beats creates a rich atmosphere that sets it apart. Guitars are used sparingly, allowing the bass to lead more prominently in the mix, while a distinct nod to bands like New Order echoes through tracks like *Idiot Box*.
Van Etten’s vocals have also transformed in this new work. The folk-infused timbre of her earlier records has given way to a more ethereal and expansive delivery that evokes influences such as late 70s Siouxsie and the Banshees. Songs featuring big choruses and intricate melodies reflect her songwriting prowess yet maintain a narrative thread of uncertainty and tension. Lyrics resonate with themes of existential questioning and personal anxieties, addressing concerns about life’s complications and the challenges of raising a child in today’s world.
While the album presents compelling ideas and melodies, not all elements hit their mark. Certain tracks, such as *Indio*, delve into motorik krautrock but feel somewhat lacking in vigor. Additionally, the album concludes with a pair of more ambient pieces that, while beautiful, leave a sense of incompleteness that contrasts with the energy present in earlier sections. Yet, this could be an intentional choice, encapsulating the overarching themes of uncertainty and open-ended conclusions that fill the album.
Van Etten’s latest effort, titled *Sharon Van Etten and the Attachment Theory*, is set to be released on February 7, promising to explore new audiences and fresh sounds while retaining the emotional depth that fans have come to appreciate.
This week Alexis listened to
Annie-Dog – Please Forgive Me, David Gray
An intriguing blend of chaotic yet luminous bedroom pop, offering melodic nods to the youthful influences that never truly fade away.
Source
www.theguardian.com