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Jun 17, 2011Marissa Nadler is indeed expansive, but it presses on the chest and pulls at the soul in its own feathery, ethereal way.
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Jun 17, 2011The album sees a succession of warm, hushed acoustic guitar textures provide an accommodating bed in which Nadler's flawless vocals can rest. The hazy sound and crepuscular feel to parts of the album recall fellow vocalist Hope Sandoval, or occasionally a more fragile and more gothic Cat Power.
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Jun 17, 2011Marissa Nadler hints at larger tragedies and losses, implying an overarching break-up narrative that gives each song added force.
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Jun 20, 2011Marissa Nadler is the sort of folk album that you'll be returning to simply because it is so varied.
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Jun 17, 2011With the help of producer Brian McTear, the songs fit together naturally; whether above synthesizers or acoustic guitar, Nadler never sounds forced.
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Under The RadarAug 5, 2011This eponymous rebirth is a fine-tuning of her previous country-folk experiments--dream-like pop chiseled from alabaster. [Jul 2011, p.87]
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Jul 8, 2011The singer-guitarist's mien is again that of a siren dressed in black mourning and white lace, beckoning lovers and loners through the misty moors.
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Jun 17, 2011Nothing here feels the least bit overdone. Marissa Nadler is a sensual, provocative, enticing work of vision and maturity.
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Jun 17, 2011While Marissa Nadler is more musically complex than earlier records, she maintains her overall aesthetic, both bucolic and tragic.
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Jun 17, 2011There is an air of melancholy that cloaks her work, from The Saga of Mayflower May (2005) to Songs III: Bird on the Water (2007) to Little Hells (2009), and her self-titled record is no exception.
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Jun 17, 2011Marissa Nadler does continue Nadler's impressive track record, and showcases her at her most confident.
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Aug 18, 2011She may remain an intimate, closely held artist for a certain sect of listeners, but by any standards hers is some powerful, accomplished songwriting-and in many ways Marissa Nadler epitomizes this ever-maturing skill more lucidly than any of her prior work.
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Aug 30, 2011The main problem is that the songs are so quietly pretty that they slip by without friction, so that you're halfway through the album before you've registered a shift in mood or tempo.
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Aug 10, 2011This is an expansive and striking collection of songs that reaches out even in its most quiet moments and, in the end, evokes plenty of melancholy-but Nadler's greatest feat here is the way she seduces us into that world.
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Jun 23, 2011It's a careful mix, edging onto cream-puff territory but never surrendering its solidity.
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Jun 17, 2011Marissa Nadler still retains the ghostly inscrutability that has always kept the singer's insistent weepiness from sounding pathetic.
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Jun 17, 2011Nadler's fifth album benefits from a newfound directness. Over acoustic fingerpicking, splashing cymbals, and languidly twanging steel guitar, Nadler inhabits her strongest set of songs yet, pining in a barely adorned soprano for both lost loves and a conjoined twin.
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UncutJul 28, 2011For this fifth album, she changes tack again, gaining in clarity what she loses in originality. [Aug 2011, p.94]
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Jul 5, 2011Music doesn't always need to be about preaching, grand-slam bombastic leanings or pushing the envelope forward – that's a fallacy. Sometimes it can just be sonically gorgeous, layered and pleasing to your hearing and thought - just as Marissa Nadler ends up being.
User score distribution:
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Positive: 24 out of 27
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Mixed: 0 out of 27
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Negative: 3 out of 27
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Jul 6, 2011
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Jun 19, 2011