The shimmering sound of
Sharon Van Etten's Jagjaguwar debut
album
Tramp both defies and illuminates the unsteadiness of
a life in flux. Throughout the 14 months of scattered recording
sessions, Van Etten was without a home -- crashing with friends and
storing her possessions between varied locations. The only constant
in Van Etten's life during this time was spent in the garage studio
of
The National's Aaron Dessner.
A two year journey brought her to that point of instability. Upon
the release of epic (Ba Da Bing; 2010), Sharon Van Etten
surprised the music world with a touching embrace. Having
established herself as a reliable performer around New York, and
coming off the release of her spartan first effort, Because I
Was In Love (Language of Stone; 2009), Van Etten created a
short album of diverse songs connected by a shared goal of
expanded sound and her unmistakable voice. Fans quickly picked
favorites, discovered their choices changing, then changing yet
again. That is the magic of epic; the intricate,
understated record covered so much ground within its 33 minutes,
it required more than an initial half hour to absorb. Since
epic's release, she has opened the Pitchfork Music
Festival, played The Hollywood Bowl with Neko Case and at Radio
City Music Hall with The Antlers, sung on new records for Beirut
and Ed Askew, and collaborated with Bon Iver's Justin Vernon and
Megafaun on the Songs Of The South project.
Dessner, the guitarist of The National, heard Van Etten early on,
Dessner covered "Love More" from epic in collaboration
with Justin Vernon. Van Etten contacted Dessner, and
almost immediately they formed plans for working together.
Dessner offered both a location for Van Etten to record new
songs, as well as the opinions of a wise producer.
One year later, and Van Etten unveils Tramp, an album
showcasing an artist in full control of her powers. Tramp
contains as much striking rock (the precise venom of “Serpents,”
the overwhelming power of “Ask”), as pious, minimal beauty (the
earnest solemnity of “All I Can,” the breathtaking “Kevins,”
“Joke or a Lie”); it can be as emotionally combative (“Give Out”)
as it can sultry (“Magic Chords”). Contributions from Matt
Barrick (Walkmen), Thomas Bartlett (Doveman), Zach Condon
(Beirut), Jenn Wasner (Wye Oak),Julianna Barwick, and Dessner
himself add a glowing sheen to the already substantial
offering.
Van Etten has traveled far, and if her displacement took an
emotional toll, she offset those setbacks with a powerfully
articulated vision. And so, once again, each listener will
discover their own moments along the way, and the debates as to
the best song start anew.