www.reneeruin.com: September 2018

Saturday, September 29, 2018

DAUGHTERS // LONG ROAD, NO TURNS

The third single from You Won't Get What You Want.

'Long Road, No Turns' out now.

#YWGWYW out October 26 on Ipecac Recordings.

Daughters, who recently confirmed the release of their first album in eight years, You Won’t Get What You Want (Oct. 26, Ipecac Recordings), have streamed a third track from the upcoming offering: “Long Road, No Turns” (https://youtu.be/MA4ROGkskbw). Previously released songs from You Won’t Get What You Want include “The Reason They Hate Me” (http://smarturl.it/Daughters) and “Satan in the Wait” (https://youtu.be/tSl4w6PXVbY). Upon hearing “Satan,” Revolver said the band had been “…refurbishing their hardcore tool shed with playful, interwoven melodies, full-bodied production and powerful vocals, courtesy of frontman Alexis Marshall,” while Tiny Mix Tapes said the Providence-based outfit’s new music was “better than ever!” with the trio of songs being offered as instant downloads with digital pre-orders. Pre-orders are available both digitally (http://smarturl.it/Daughters) and physically (https://revolvemerchandise.shop/ipeca...), with available bundles including a London fog and clear smoke vinyl, hoodies, t-shirts and an exclusive slip mat only available with pre-orders.

Daughters tour dates: October 31 Richmond, VA Strange Matter ## November 1 Baltimore, MD Metro Gallery ## November 2 Philadelphia, PA First Unitarian Church ## November 3 Brooklyn, NY Brooklyn Bazaar SOLD OUT ## November 4 Brooklyn, NY Saint Vitus SOLD OUT ## November 8 Los Angeles, CA The Echo SOLD OUT ^^ November 9 Los Angeles, CA The Echo ^^ November 10 San Francisco, CA Bottom of the Hill SOLD OUT ^^ November 11 San Francisco, CA Bottom of the Hill ^^ November 13 Seattle, WA Highline ^ November 15 Denver, CO Larimer Lounge ^^^ November 17 Chicago, IL Beat Kitchen SOLD OUT ### November 18 Chicago, IL Beat Kitchen SOLD OUT ### April 14 Tilburg, Netherlands Roadburn # - w/The Hirs Collective ## - w/The Hirs Collective & Street Sects ### - w/The Hirs Collective & Jaye Jayle ^ - w/Dreamdecay ^^ - w/Dreamdecay & Lingua Ignota ^^^ - w/Echo Beds

Celine // SPRING 2019 READY-TO-WEAR (HEDI SLIMANE IS BACK!!)

Marissa Nadler // For my Crimes

The eighth album from Marissa Nadler, For My Crimes, is the sound of turmoil giving way to truth. The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography. The album is set for release on September 28, via Bella Union and Sacred Bones.

Following the release of 2016’s acclaimed Strangers, Nadler’s relationships were put to the test as she left the Boston area on tour. She wrote throughout 2017 about this tension, and ended up with three times as many songs as she needed. But after reviewing the demos with her co-producers Justin Raisen and Lawrence Rothman, Nadler wrote a flurry of tight but no less intense new songs in the week before arriving at Rothman’s Laurel Canyon studio, House of Lux, in early January. She considered it a challenge to herself, applying new strategies and structures to the craft of “slow music” she’s honed over the last 15 years. From that group of songs came nearly all of the singles on For My Crimes, some of the most indelible of Nadler’s career.

The opening title track is classic Nadler: a sweeping, vaguely Southern drama of voices, strings, and acoustic guitar, that walks the fine line between character song and personal indictment by metaphor. “For My Crimes” spawned out of a songwriting exercise in which Nadler wrote from the perspective of someone on death row, but the song casts a dark shadow over an album that turns marital conflict into inner reflection. Helping Nadler dig down into the song’s remorseful soul is her old friend Angel Olsen, who serves as a distraught echo from beyond in the chorus.

Bolstering the intimacy of these songs is the strong feminine energy that defined their recording. Between Rothman’s fluidity with both gender and genre (as heard on his 2017 album The Book of Law), and Raisen’s track record of successful collaborations with strong women (Olsen, Kim Gordon, Charli XCX), Nadler felt empowered to explore without judgement in the studio. With the exception of a single saxophonist, every player on the album is a woman of notable pedigree and distinct style, many of whom have played with Nadler over the years. In addition to the cameos by Angel Olsen and Kristin Kontrol, Sharon Van Etten sings backup on “I Can’t Listen to Gene Clark Anymore” and “Lover Release Me.” Mary Lattimore joins on harp for “Are You Really Gonna Move to the South,” while the great experimental multi-instrumentalist Janel Leppin plays strings throughout the record.

These women and others helped make For My Crimes as dynamic as it is intimate, but Nadler’s mesmerizing voice—stripped of nearly all reverb—is what sits at the center of these songs. You can hear the emotional range of her performances more than ever before, from the spectral harmonizing of “Are You Really Gonna Move To The South” to the cheeky boredom of “All Out Of Catastrophes,” two other highlights. As a singer, she has never sounded more confident than she does here.

Adding to the album’s deeply personal feeling is its abstracted artwork, featuring Nadler’s original oil paintings. Though Nadler is a graduate of the Rhode Island School of Design and a semi-retired art teacher (she has one student left—a 95-year-old named Doris), For My Crimes marks the first album cover bearing one of her paintings. She also channeled the album’s themes into paintings corresponding to specific tracks, which will be included as prints in the limited edition version of For My Crimes (and in some cases, for sale as originals on Nadler’s website).