New Music Review: Sharon Van Etten-Tramp

Sharon Van Etten-Tramp

Jagjaguwar

Grade: 8.6 (B)

Available At: NPR, Amazon MP3 & CD, eMusic

Official Site: sharonvanetten.com

Singing in an octave that reminds me of Lucinda Williams (minus any twang) and delivering her vocals in a way that reminds me of Wye Oak's Jenn Wasner (though much more personal in content), Indie folk rocker Sharon Van Etten delivers a dozen confessionals in a croon that permeates with lush undertones. That the new album is called "Tramp", it may lull you into thinking that Van Etten has a bit of a self confidence issue...that is if she is looking at it from a mirrored image point of view. But through these songs, it becomes apparent with each listen, that lyrically, Van Etten is pouring her soul to the masses with a lot of fight. An "I'm here, this is how I'm dealing with this" comes out. And because of that fight, "Tramp" turns out to be an intriguing listen at best.

Produced by Aaron Dressner, guitarist from the National, and recorded in his own studio, Van Etten's lyrics gets a benefit from a very lush sound surrounding her fight thanks in part to Dressner's treatment of these songs. Take "I'm Wrong" for instance. The horn swells that build near the end wreak of The National's "High Violet" from 2010 ("England" comes to mind from that album). And the guest list of musicians that stop by is a mish mash of who is hot in Indie east coast music. Aaron's brother Bryce (from the National), Wye Oak's Jenn Wasner, Julianna Barwick, The Walkmen's drummer Matt Barrick, Thomas Bartlett and Beirut's Zach Condon (on the wonderful duet of a couple fooling themselves to thinking their relationship is hunky dory on "We Are Fine"). Each of these artists lends their strengths to the sound to make it almost feel like a super band, collaborative effort. But after repeated listens through the murky haze of sound, it becomes apparent that Van Etten's croon is the major star.

Whether it's the big, dark jangle of the opener "Warsaw", the sinisterly creepy opening single "Serpents" or the legendary build that almost reminds of "Hey Jude" without the na-na-na's on "All I Can", Van Etten's songwriting makes these standout tracks on "Tramp." The only peeve I have is since these songs don't rely on hooks or big melodies, everything can tend to blend and have no definition as a whole of an album. Also, for an album that has Van Etten fighting through uncomfortable odes to isolation, the closing hushed "Joke Or Lie" feels like a bit of a letdown or a whimper. But there is enough strong material on "Tamp" to let those things go.

"Tramp" is an album that is hard to admire and with a good amount of patience, an easy album to love. But you've got to dive into the muddy water that Van Etten's brought to the table. She scowls, "I had a thought you'd take me seriously" on the snarling "Serpents". With thoughtful crooners like this, you're going to have to eventually take this upcoming star for her words. It just might take some time to let that sink in.


JHO Picks: Warsaw. Serpents, All I Can, We Are Fine

Source: http://www.jhostation.com/2012/02/new-music-review-sharon-van-etten-tramp.html

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