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Pocketmags Digital Magazines
Pocketmags Digital Magazines

Sharon Van Etten

The New Jersey singer-songwriter has treated us to four albums of lovelorn beauty. Gary Walker discovers a bold electronic departure on her fifth


New Jersey’s Sharon Van Etten appeared an artist endlessly searching on 2012’s Tramp and sublime follow-up Are We There (2014). Those sparse records were characterised by mournful piano compositions, jagged alt-rock guitar adornments and Van Etten’s ghostly harmonies and towering, defiant vibrato. They were two of the finest albums to emerge from the Big Apple’s prolific indie scene in the period – lovelorn, direct and selfprobing collections of truly brilliant cathartic writing.

Much has happened in the intervening years, and while the familiar opening piano chord of I Told You Everything hints mischievously at a revisit of Afraid Of Nothing, Are We There’s majestic, hopeful first track, the similarities between two records separated by four years end there. Gone are the crisp acoustic strumming, sombre piano ballads, droning omnichord and offset guitars. Aided by producer John Congleton, who Van Etten gave a stack of Suicide, Portishead and Nick Cave records as sonic reference points, Remind Me Tomorrow is a fearless stride into the electronic landscape, as Van Etten explores the New Wave, electronica and trip-hop in her record collection in strident fashion. “We held hands as we parted,” she emotes on the opener over a stark backing of electronic drums and a foreboding growling synth bass. That early foray into electronic music proves just an initial flag in the ground, as No One’s Easy To Love grasps the baton, its similarly meaty bass foundation swirled around by effected piano arpeggios and an array of synths.


The mood is brooding on Memorial Day, with an ominous electronic pulse and otherly looped vocal effect underpinning Van Etten’s ever-intoxicating woozy harmonies. It’s not just the sonic toolkit That has expanded – the album’s lyrical scope is broader, too, with an eye on the broader geo-political situation. Startling first single Comeback Kid began life as a piano ballad, but with Van Etten insisting she “didn’t want it to be pretty”, it now effervesces wickedly to the sound of a 1970s Korg organ and a throbbing disco beat, confident chest-beating entry music for an artist returning to the arena with a fresh outlook. “I want to be a mom, a singer, an actress, go to school, but yeah, I have a stain on my shirt, oatmeal in my hair and I feel like a mess, but I’m here. Doing it,” Van Etten explains of an album she wrote while pregnant, back at college studying psychology and taking her first steps into an acting career in Netflix drama The OA. While once you pondered how Van Etten slept at night with such sorrowful thoughts circling around her brain, now you wonder when she sleeps.

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Berry Gordy, Stevie Wonder, Marvin Gaye, Martha Reeves, Smokey Robinson, Lionel Richie, The Supremes… over 180 No.1 singles worldwide… In issue 23 of Long Live Vinyl we celebrate 60 years of the world’s most famous record label as Gareth Murphy tells the inside story of Motown. We also round up the 40 essential Motown 45s that every collector should own. Elsewhere this issue, we pay tribute to Pete Shelley in one of the Buzzcocks frontman’s final interviews; Steve Mason tells us about his “world class” new album and we find out why The Cure’s Robert Smith has tipped The Twilight Sad as one of the best new bands on the planet. We also take an in-depth look at the album that lifted Lou Reed out of obscurity – 1972 masterpiece Transformer, meet the artistic geniuses behind The Designers Republic, visit Union Music and go cratedigging in Glasgow. If all that’s not enough, check out our newly expanded reviews section, where you’ll find the widest range of new albums, reissues and hardware anywhere!