2024-03-24 13:17:36
Her previous five solo albums have always been a subtle reminder of where her band is Big Thief was able to take Adrianne Lenker’s songwriting to a magical level Bright Future an impressive demonstration of the strength of the now 32-year-old exceptional athlete who can stand on her own.
The record, produced by Philip Weinrobe, continues to grow through the subtle contributions of Nick Hakim, Mat Davidson and Josefin Runsteen, as if despite everything a social corrective, the concentration on Lenker’s inner life had to bring an emotional balance without really focusing on the collective move. For example, if the prudent Already Lost around the campfire like a loving banjo homage to the grandeur of Grizzly Bear nestles or Donut Seam as vague American Pie-Reminiscence enchanting, explicitly embraced in their restraint by the carefully nuanced sense of community behind the very modestly staged songs that almost exude a lo-fi aesthetic.
Where are the differences from Lenker’s own vision? Big Thief lying, can then be clearly seen on one rumbling here alone Vampire Empire Listen to the fact that it offers a harsher, more unpolished, more curious, also rougher and more playful version of their band’s well-rounded 2023 standalone hit – and how with its edgier, angular appearance as well as the fact that it falls a little bit out of context (or alternatively: the otherwise somewhat uniform dynamics breaking out) Fool offers, in which lively and cheerfully oscillating bouncing guitar balls seek minimalism, like an organic electronic experiment – including a nod to their chosen and blood family.
Whether diametrically at the other end of the spectrum – and yet without a break in the homogeneous manner of the plate – one Ruined It remains to be seen that it would have been possible as the end credits of a gently shimmering romance outside of the solo context, because it creates conventional beauty almost where Chris Martin gets moist in his eyes without stadium pathos.
The opener is similarly (un- and yet above all) representative Real Housewhich, in its absolute proximity of form and content, is so infinitely intimate and vulnerable in a way that is only known from Phil Elverum’s most blood-curdling days: a reserved piano, the crackling spatial sound and this voice that so ruthlessly reveals one’s own inner life create a feeling poetic warmth, an introspective melancholy and existentially calm nostalgia that can break hearts and heal them at the same time in a gentle yet brutally honest way with bittersweet melody and fragility – this is how stirring the autobiographically reminiscent narrative is with strong images and careful instruments.
Afterwards, the gems enter the almost inconspicuous field of tension between country, Americana, folk and singer-songwriter magic – always formulated and complete, where Lenker’s solo material has so far allowed the tendency towards sketchy fragments, even on a compositional level .
Sadness as a Gift All it takes is a little Fidel support for the jingling sentimentality to sound like an ascetic reverberation Dragon New Warm Mountain I Believe in Youthere is nothing cheesy regarding the prospects for the future, which may somehow derive hope from the presumed pain of the separation: “You and I might see into the same eternity/ Every second brimming with a majesty“.
No Machine is contemplative, lovingly plucked minimalism in subtle harmony and Free Treasure the cautious mood of optimism in homeliness. Candleflame gives itself infinitely tenderly and lovingly in the slipstream of The Book of Love, Cell Phone Says almost nakedly exposed even more confident. And the sad and comforting Evol announces itself as an in-house instant classic on the piano, is exemplary warm and soft and devastatingly beautiful, the strings subtly underlie it with ever more drama. The favorite songs change in a qualitatively constant, but always particularly engaging, upwardly trending flow practically with every passage Bright Future gains in depth and develops a familiar homeliness: Lenker has never been better on its own, even with the congenial catalytic converter Big Thief not always in the back.
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