Everywhere and nowhere. Because certain acts drift at the periphery of focus, the indices of band names, stage names, the nomenclature behind album titles and the individual tracks themselves: these are specifics not exactly traded in the dead of night like contraband, or presented to the anointed for some private consumption (that would all be weird, somewhat fetishistic, and we all know that the last possible adjective we could throw at music geekery would be fetishistic). Rather, certain records foster a delicate presence, not demanding your full and frank attention like a temperamental child, instead drawing you closer simply by being there – not every disc wants to grow up to be Lana Del Rey.
I was a little surprised to read that Tramp, Sharon Van Etten’s third album, has just been released, considering that I’ve been listening to a fair chunk of this record for months. Tracks decorating the coolest of blogs (as well as some less happening), those corners of the internet where people like me venture when we’re not trying to import another consignment of rare Polish vodka. When is an album release date not an album release date? I wrote in my notebook – then carried on listening all the same, for Tramp is an engaging album. Produced by The National’s Aaron Dessner, each song unfolds with warm, folk-tinged introspection, tracks that float somewhere enticingly between Hope Sandoval, Liz Phair and a photogenic lake by a truck stop somewhere in Ohio on a gorgeous, misty morning…
Sharon Van Etten / Serpents
Sharon Van Etten / Warsaw