Marissa Nadler Returns w/New Rec

 

 

Fourth studio album
due March 3 from Kemado.

 

By Blurt Staff

 

 

Back when BLURT was just a little ol’ print magazine called Harp we enthusiastically sang the
praises
of Boston songbird Marissa Nadler, who at the time had recently seem a
full US release of her album Songs III:
Bird on the Water
by the Kemado label. Now comes word that Kemado is set to
drop Nadler’s fourth record on March 3.

 

Titled Little Hells, it’s described by the label as demonstrating Nadler’s unique ability
to “envelop the listener in splendid gauzy moods without becoming
monochromatic.”

 

Adds Nadler, “The songs take on different personalities at
different points in time. If a song is good, you should be able to do it in any
style and transform it, take a risk and have some fun.”

 

Well, all right then. And Nadler has always operated without
a net, which is perhaps why she has been steadily expanding her fanbase even as
she continues to test herself and her art. Here’s the scoop, from the label:

 

 

 

A master of creating
rich dreamscape atmospheres, Nadler’s voice shines and glides even more with a
full band accompanying her. Produced by Chris Coady, the starry musical guests
include longtime collaborator Myles Baer, Simone Pace (Blonde Redhead), and
Dave Scher (Farmer Dave).  Few contemporary artists can match
the stunning ride of Marissa’s reverb vocals that are a journey into themselves
on every rose tinged track. 
Little
Hells displays a
brighter leap in musical maturity and attention to detail, as the fantasmagoric
sounds delve into melancholy nuggets, sometimes erotic, sometimes gutting, but
filled with a gorgeous sense of serene hope more so than previous
album, Songs III: Bird on the Water.

 

 

Building on her hazy
sonic foundations, Nadler ventures into territory as varied as the Brill
Building-tinged pulse of Mary Come Alive and the title tracks old-time country
loam — a trek tha’ts both breathtakingly scenic and psychically compelling.
Sadness can be found in the undercurrents of 
Little Hells, to be sure.
But there are just as many moments of serene reflection and quiet contentment
in pleasures as simple as the warmth of the sun or the scent of flowers — the
latter of which permeates several of the new albums offerings. That mixing of
tones affords Little Hells both delicacy and strength — a balance that, it
might be said, exists in Marissa Nadler herself.

 

 

 

 

 

 

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